List of Repértorie Violin

Violin
Violin
SYLLABUS / 2013 EDITION
SYLLABUS / 2013 EDITION
© Copyright 2013 The Frederick Harris Music Co., Limited

All Rights Reserved
Message from the President
The Royal Conservatory of Music was founded in 1886 with the idea that a single
institution could bind the people of a nation together with the common thread of shared
musical experience. More than a century later, we continue to build and expand on this
vision.
Today, The Royal Conservatory is recognized in communities across North America for
outstanding service to students, teachers, and parents, as well as strict adherence to high
academic standards through a variety of activities—teaching, examining, publishing,
research, and community outreach.
Our students and teachers benefit from a curriculum based on more than 125 years
of commitment to the highest pedagogical objectives. The strength of the curriculum
is reinforced by the distinguished College of Examiners—a group of fine musicians
and teachers who have been carefully selected from across Canada, the United States,
and abroad for their demonstrated skill and professionalism. A rigorous examiner
apprenticeship program, combined with regular evaluation procedures, ensures
consistency and an examination experience of the highest quality for candidates.
As you pursue your studies or teach others, you become not only an important partner
with The Royal Conservatory in the development of creativity, discipline, and goal-
setting, but also an active participant, experiencing the transcendent qualities of music
itself. In a society where our day-to-day lives can become rote and routine, the human
need to find self-fulfillment and to engage in creative activity has never been more
necessary. The Royal Conservatory will continue to be an active partner and supporter
in your musical journey of self-expression and self-discovery.
Dr. Peter C. Simon

President
Contents
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Register for an Examination . . . . . . . . 78
What’s New? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Contact Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Examination Regulations
Examinations Offered . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Examination Procedures . . . . . . . . . . . . . . . . . . . . . . . . 79
Credits and Refunds for Missed Examinations . . . . . . . 79
About Us Candidates with Special Needs . . . . . . . . . . . . . . . . . . . 80
The Royal Conservatory . . . . . . . . . . . . . . . . . . . . . . . . . 5 Examination Results . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
The Royal Conservatory Examinations . . . . . . . . . . . . . . 5 Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
The Frederick Harris Music Co., Limited . . . . . . . . . . . . 5 Supplemental Examinations . . . . . . . . . . . . . . . . . . . . . 83
Split Grade 10 Practical Examinations . . . . . . . . . . . . . 83
Practical Examination Certificates . . . . . . . . . . . . . . . . . 83
Examination Requirements Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Certificate Program Overview . . . . . . . . . . . . . . . . . . . . . 6 School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Theory Examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Musicianship Examinations . . . . . . . . . . . . . . . . . . . . . 84
Co-requisites and Prerequisites . . . . . . . . . . . . . . . . . . . . 8 RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Examination Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . 9 Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . . . . . 10 Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Orchestral Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Thematic Catalogues . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Technical Requirements . . . . . . . . . . . . . . . . . . . . . . . . 11
Resources
Grade-by-Grade Requirements General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Preparatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 General Reference Works . . . . . . . . . . . . . . . . . . . . . . . 90
Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Violin Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Frequently Asked Questions
Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Practical Examinations . . . . . . . . . . . . . . . . . . . . . . . . . 94
Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Theory Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Practical Examination Day
Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Checklist for Candidates
Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
ARCT in Violin Performance . . . . . . . . . . . . . . . . . . . . . 73 Before You Leave Home . . . . . . . . . . . . . . . . . . . . . . . . . 96
Teacher’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
What to Expect from a Violin Examination . . . . . . . . . . 96
After the Examination . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Getting Started
What’s New?
• Preparatory examinations are now graded.
• Only one etude is required for Grade 7.
• Technical Requirements have been revised.
• The marking scheme for Technical Requirements has been revised for
Grades 7 to 10.
• There is a specific memory mark deduction for Lists A, C, and D repertoire
in Grades 7 to 10.
• Orchestral Excerpts now include chamber music repertoire.
• Candidates in Grade 10 have the opportunity to split the examination into two
separate segments.
Visit www.examinations.rcmusic.ca to register for an

examination or for further information concerning official
Royal Conservatory programs.
Contact Us
• Phone: 416-408-5019 or toll-free 1-800-461-6058
• Fax: 416-408-3151
273 Bloor Street West

Toronto, ON Canada M5S 1W2
Examinations Offered
Practical Examinations
Accordion, Bassoon, Cello, Clarinet, Double Bass, Flute, French Horn, Guitar, Harp,
Harpsichord, Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and
Drama, Trombone, Trumpet, Tuba, Viola, Violin, Voice
Theory Examinations
Rudiments, Harmony, Keyboard Harmony, History, Counterpoint, Analysis
Musicianship Examinations
Junior, Intermediate, Senior
Getting Started 4
About Us
The Royal Conservatory
The Royal Conservatory is one of the largest and most respected music education institutions
in the world. Providing the definitive standard of excellence in music education through Visit rcmusic.ca to
its curricula, examinations, performances, and teacher education programs, The Royal learn more about the
Conservatory has had a substantial impact on the lives of millions of people globally. history of The Royal
Conservatory.
Notable alumni include: • David Foster • Oscar Peterson
• Randy Bachman • Glenn Gould • Adrianne Pieczonka
• Isabel Bayrakdarian • Angela Hewitt • Paul Shaffer
• Russell Braun • Norman Jewison • St. Lawrence String
• Martin Beaver • Diana Krall Quartet
• Measha Brueggergosman • Gordon Lightfoot • Teresa Stratas
• Adrienne Clarkson • Lois Marshall • Shania Twain
• Bruce Cockburn • Sarah McLachlan • Jon Vickers
• Naida Cole • Jon Kimura Parker
The Royal Conservatory Examinations

The Royal Conservatory provides a recognized standard of musical success through an effectively
sequenced course of study and individual student examinations, from preparatory to advanced
grades. Over 100,000 examinations are conducted annually in 260 communities across Canada.
Read about the College
The College of Examiners of Examiners, including
Examiners are highly trained professional musicians and theorists from across North America. examiner biographies,
All examiners complete an Examiner Apprenticeship Program before being admitted to the at
College of Examiners. Professional development and training continues throughout each www.examinations.
examiner’s career to ensure consistent examination standards across North America.
rcmusic.ca
The Frederick Harris Music Co., Limited

As The Royal Conservatory’s publishing division, The Frederick Harris Music Co.,
Limited produces The Royal Conservatory’s renowned Syllabi and related teaching and
examining materials for individual instruments, voice, and theoretical subjects.
Additional programs of The Royal Conservatory are delivered through the following
divisions:
• The Glenn Gould School provides professional training in music for gifted young
artists at the undergraduate and graduate levels.
• The Young Artists Performance Academy provides supportive, comprehensive
training for promising young musicians aged nine to eighteen.
• The Royal Conservatory School provides acclaimed early childhood music
education programs, music classes, and private lessons for people of all ages and
stages of musical literacy.
• Learning Through the Arts® supports excellence in public education programs by
using the arts to enhance learning.
• The Performing Arts Division programs superb performances and events in The
Royal Conservatory’s three venues: Koerner Hall, Mazzoleni Concert Hall in historic
Ihnatowycz Hall, and the Conservatory Theatre.
• The Royal Conservatory Music Development Program promotes and expands
musical activity in the United States and makes the study of music a central part of
the lives of all Americans.
5 About Us
Examination Requirements
Certificate Program Overview
A progressive assessment program for every examination candidate
Internationally recognized certificates are awarded for successful completion of each
practical grade and the required co-requisite theory examination(s). Internationally
recognized diplomas are awarded for successful completion of the ARCT practical
examination and the required co-requisite examinations in theory and piano.
Candidates may enter the Certificate Program at any practical grade from Preparatory
to Grade 10. The following table summarizes the examinations required for each
certificate.
Certificates Examinations Required

Preparatory Violin Preparatory Violin
Grade 1 Violin Grade 1 Violin
Grade 5 Violin Grade 5 Violin; Basic Rudiments
Grade 6 Violin Grade 6 Violin; Intermediate Rudiments
Grade 7 Violin Grade 7 Violin; Advanced Rudiments
Grade 8 Violin Grade 8 Violin; Advanced Rudiments
Grade 9 Violin Grade 9 Violin; Advanced Rudiments; Basic Harmony/Basic Keyboard Harmony; History 1:
An Overview
Grade 10 Violin Grade 10 Violin; Advanced Rudiments; Intermediate Harmony/Intermediate Keyboard
Harmony; History 1: An Overview; History 2: Middle Ages to Classical
Diploma Examinations Required

ARCT in Violin ARCT in Violin Performance; History 3: 19th Century to Present; any two of: Advanced
Performance Harmony/Advanced Keyboard Harmony, or Analysis, or Counterpoint; Grade 6 Piano
Teacher’s ARCT Teacher’s ARCT (Parts 1, 2, and 3); History 3: 19th Century to Present; any two of:
Advanced Harmony/Advanced Keyboard Harmony, or Analysis, or Counterpoint; Grade 8
Piano
For current information concerning Teacher’s ARCT requirements, please visit
www.rcmusic.ca.
Examination Requirements 6
Theory Examinations
See the current
Essential Tools for Musical Development edition of the Theory
• Violin candidates are encouraged to begin theory and piano studies as early as Syllabus for detailed
possible. theory examination
• Beginning at Grade 5, candidates must complete the required theory examinations in requirements.
order to receive Practical Examination Certificates.
Overview of Theoretical Subjects

The following table lists all of the written theory examinations in the Certificate
Program with brief details, including the length of the examination and a summary
description of the content.
Subject Theory Examination Title

Preparatory Rudiments (1 hour)
– Building blocks of music notation
Basic Rudiments (1 hour)
– Elements of music for the beginner
Rudiments
Intermediate Rudiments (2 hours)
– Continuation of basic rudiments
Advanced Rudiments (2 hours)
– Continuation of intermediate rudiments and preparation for harmony
Introductory Harmony (2 hours)
– Chord symbols; non-chord tones; elementary four-part and melodic writing
Basic Harmony (3 hours)
– Four-part writing; melodic composition; harmonic and structural analysis in major and minor keys
or
Basic Keyboard Harmony (20 minutes)
– Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition;
harmonic and structural analysis
Intermediate Harmony (3 hours)
– Four-part writing and melodic composition in major and minor keys; modulation; harmonic and
structural analysis of musical forms
Harmony and
or
Counterpoint
Intermediate Keyboard Harmony (25 minutes)
– Melodic improvisation; keyboard-style harmonization; modulation; accompaniment; melodic
transposition; harmonic analysis; C-clef reading
Counterpoint (3 hours)
– Composition and analysis of simple counterpoint in Baroque style
Advanced Harmony (3 hours)
– Advanced harmonic and contrapuntal techniques
or
Advanced Keyboard Harmony (30 minutes)
– Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and
orchestral transposition; score reading
Analysis (3 hours)
Analysis
– Advanced harmonic and structural analysis of musical forms
History 1: An Overview (3 hours)
– Introduction to styles, composers, and music from 1600 to the present
History 2: Middle Ages to Classical (3 hours)
History
– Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical periods
History 3: 19th Century to Present (3 hours)
– Styles, composers, and music of the Romantic era to the present
7 Examination Requirements
Preparing for a Theory Examination
• Theory examinations test music theory and knowledge of music history in a formal
classroom setting, generally with a written examination.
• Official Examination Papers, available at music retailers, are published annually by The
Frederick Harris Music Co., Limited to aid with examination preparation.
Co-requisites and Prerequisites

The following table summarizes all the co-requisite and prerequisite examinations
required to obtain certificates for Grades 5 to 10 and diplomas for the ARCT in Violin
Performance or the Teacher’s ARCT. There are no prerequisite or co-requisite theory
examinations for Preparatory to Grade 4. However, it is recommended that students
complete Preparatory Rudiments prior to Basic Rudiments. Similarly, it is recommended
that students complete Introductory Harmony prior to Basic Harmony.
Candidates for the ARCT in Violin Performance or the Teacher’s ARCT will be required to
complete the following theory examinations: History 3: 19th Century to Present, and two
of the following three examinations: Advanced Harmony/Advanced Keyboard Harmony,
or Counterpoint, or Analysis. The selection of these examinations and the order in which
they are taken is at the discretion of the candidate.
Candidates for the ARCT in Violin Performance must complete co-requisite theory
examinations and the Grade 6 Piano examination before or within five years of the
original practical examination to be eligible for the Diploma.
Candidates must complete prerequisite examinations at least one session prior to
attempting the ARCT in Violin Performance. For up-to-date information on the
Teacher’s ARCT please consult www.rcmusic.ca.
ARCT in Teacher’s
Grade 5 6 7 8 9 10
Performance ARCT
Required Examinations (C = Co-requisite P = Prerequisite)
Basic Rudiments C
Intermediate Rudiments C
Advanced Rudiments C C C C P P
Basic Harmony C
Intermediate Harmony C P P
Any two of: Advanced Harmony, or Counterpoint,
C C
or Analysis
History 1: An Overview C C P P
History 2: Middle Ages to Classical C P P
History 3: 19th Century to Present C C
Grade 10 Practical P P
Grade 6 Piano C
Grade 8 Piano C
Alternative Examinations
Basic Keyboard Harmony
C
(can be substituted for Basic Harmony)
Intermediate Keyboard Harmony
C P P
(can be substituted for Intermediate Harmony)
Advanced Keyboard Harmony
C C
(can be substituted for Advanced Harmony)
Junior Musicianship (can be substituted for Grade 8 Ear
C
Tests)
Intermediate Musicianship (can be substituted for
C
Grade 9 Ear Tests)
Senior Musicianship (can be substituted for Grade 10
C C
and Teacher’s ARCT Ear Tests)
Examination Repertoire
The Violin Syllabus, 2013 Edition lists the repertoire for violin examinations.
Information given for each item includes:
• the composer
• the title of the selection
• the larger work of which the selection is a part (where applicable)
• an anthology or collection in which the selection can be found (where applicable)
• performance directions (where applicable) indicating the section(s) of a work to be
prepared
• the publisher of a suggested edition (where applicable)
Names of publishers are indicated by an assigned abbreviation. Please see p. 86 for a list
of publishers with their abbreviations.
Syllabus Repertoire Lists

At each grade, candidates are encouraged to choose a balanced and varied examination
program that includes a variety of musical styles and keys. The repertoire for each grade
is divided into lists, according to genre or stylistic period.
Preparatory, Grade 1, and Grade 2
List A: Pieces in a Slower Tempo
List B: Pieces in a Faster Tempo
Grade 3
List A: Repertoire in Baroque and Classical Styles
List B: Traditional and Romantic Repertoire
List C: Repertoire Composed After 1930
Grade 4
List A: Concertos, Sonatinas, and Fantasias
List B: Repertoire in Baroque Style
List C: Concert Repertoire
Grade 5, Grade 6, and Grade 7

List A: Concertos, Airs variés, and Fantasias
List B: Sonatas and Sonatinas
Grade 8
List A: Concertos, Airs variés, and Fantasias
List D: Unaccompanied Repertoire
Grade 9
List A: Concertos and Airs variés
List D: Unaccompanied Repertoire of Johann Sebastian Bach
Grade 10
List A: Concertos
List B: Sonatas
List D: Unaccompanied Repertoire of Johann Sebastian Bach
ARCT in Violin Performance
List A: Concertos
List B: Sonatas
List D: Unaccompanied Repertoire
Da Capo Signs and Repeats

• When performing repertoire in an examination, candidates should observe da capo
and dal segno signs, unless stated otherwise in the Violin Syllabus, 2013 Edition.
• Repeat signs should be observed only if indicated in the Violin Syllabus, 2013 Edition or
in Violin Series, 2013 Edition.
Memory
At Preparatory through Grade 6, six marks are awarded for the memorization of
repertoire.
• Three marks are awarded for each repertoire selection performed by memory in
Preparatory and Grades 1 and 2.
• Two marks are awarded for each repertoire selection performed by memory in Grades
3 and 4.
• In Grades 5 and 6, three marks are awarded for each repertoire selection from Lists
A and C performed by memory. List B selections need not be performed by memory,
and no extra marks will be awarded for memorization.
At Grade 7 through ARCT, candidates are expected to perform all repertoire by memory,
with the exception of List B selections, which do not need to be memorized.
• A memory mark deduction of 10% per repertoire selection will be made for pieces
from Lists A, C, and D that are performed with music.
• List B selections need not be performed by memory, and no extra marks will be
awarded for memorization.
Candidates must
provide their own
collaborative pianist Accompaniment
in order for the All selections requiring accompaniment must be performed with piano accompaniment
examination to only. No other instruments are permitted. Recorded accompaniment is not permitted.
proceed. Candidates must provide their own collaborative pianist. Collaborative pianists are
permitted in the examination room only while they are playing accompaniments for the
candidate.
Repertoire Substitutions
Violin candidates at Grades 1 through ARCT have the option of substituting one
repertoire selection at each examination with a selection of their own choice. Repertoire
substitutions for Violin fall under the following categories.
Syllabus Substitutions
Candidates in Grade 1 through 10 may substitute one repertoire selection from the grade
immediately above without prior approval. The repertoire substitution must normally
be chosen from the corresponding List of the grade immediately above the candidate’s
official grade. For example, a Grade 5 List A selection may be performed in place of a
Grade 4 List A selection.
Please note that the performance of repertoire substitutions chosen from a higher grade
will be evaluated at the standard of the higher grade. NOTE: No Syllabus substitution
is allowed for Grade 10 List D repertoire.
Non-Syllabus Substitutions Requiring Approval
Violin candidates may apply to substitute one repertoire selection not listed in the
Violin Syllabus, 2013 Edition with a work that is comparable in style and difficulty. The
substitute repertoire selection must be of comparable length and musical quality to
selections in the specified List. Approval of such selections is based on the suitability of
the style and the level of difficulty of the substitute composition.
Candidates wishing to include a substitute selection on their examination programs
must complete an Examination Substitute Piece Request Form (available at www.
examinations.rcmusic.ca) by the examination registration deadline. Candidates are
advised to prepare an alternate work in case the request is denied.
• Send the completed form together with the appropriate fee and a copy of the
substitute piece to The Royal Conservatory Examinations. (Photocopies used for this
purpose should be marked “For Approval Only”; these copies will be destroyed once
a decision has been made.) Any published music submitted will be returned to the
candidate along with the approval form.
• Bring the approved Examination Substitute Piece Request Form to your examination
and give it to the examiner.
• Please note that marks will be deducted from the final examination mark for any
unapproved Non-Syllabus substitution or for any Syllabus substitution that does not
follow the guidelines provided above.
NOTE: In Grades 8, 9, 10, and ARCT, Non-Syllabus substitutions are not permitted
for List D selections.
Orchestral Excerpts
All orchestral excerpts listed in the Violin Syllabus, 2013 Edition are included in Violin
Series, 2013 Edition: Orchestral Excerpts. Alternatively, candidates may select the specified
passages from standard violin orchestral parts.
Candidates are expected to play chords as they would in an orchestral setting. Unless
specifically marked “non divisi,” candidates should play the upper note only, or the
upper two notes of three- or four-note chords.
Orchestral excerpts need not be memorized, and no extra marks will be awarded for
memorization. For further details on examination requirements for orchestral excerpts,
please consult the listings for each grade.
Technical Requirements
Etudes
A selection of etudes for Preparatory though Grade 8 is published in Violin Series,
2013 Edition: Violin Technique and Etudes (Preparatory–4 and 5–8). Etudes need not be
memorized and no extra marks will be awarded for memorization. For further details
on examination requirements for etudes, please consult the listings for each grade.
Technical Tests
Complete technical tests for levels Preparatory through Grade 8 are published in Violin
Series, 2013 Edition: Violin Technique and Etudes (Preparatory–4 and 5–8). Technical tests
(scales, arpeggios, and double stops) must be played from memory. No marks will be
awarded for technical tests that are not performed from memory. For further details on
examination requirements for technical tests, please consult the listings for each grade.
General Instructions
• The examiner will choose a representative sampling of items on the technical
requirements list.
• Metronome speeds are intended as a guideline. The tempo should be compatible with
the required number of notes per bow, a clear and sonorous tone, controlled rhythm,
and precise intonation.
• Vibrato is not recommended. If used, it should be limited to final tonic notes.
• The fingering shown in Violin Series, 2013 Edition: Violin Technique and Etudes is
recommended but not compulsory. Any logical fingering pattern is acceptable.
• One- and two-octave scales must be played with the patterns shown in the Violin
Syllabus, 2013 Edition.
• Three-octave scales from Grades 5 through 8 may be played with either of the
following patterns, provided they are played with the required number of notes per
bow as stipulated in the Violin Syllabus, 2013 Edition. Candidates in Grades 9 and 10
may use either of the following patterns, or the Carl Flesch patterns.
Pattern A–Galamian Pattern
Pattern B
Grade-by-Grade Requirements
Preparatory
Candidates at the Preparatory level are expected to
exhibit developing bow control and some understanding
List A
of bow division. There should be evidence of a steady, Pieces in a Slower Tempo
rhythmic pulse. Whole steps and half steps should
be well defined. Good posture and hand set-up are Traditional
important factors. l Go Tell Aunt Rhody (in Suzuki Violin School, Revised
Edition, 1 ALF)
Archer, Violet
Preparatory Requirements Marks
Three Little Studies for Violin and Piano CMC
Repertoire 60 l Waltz (no. 3)
one selection from List A 27 Twelve Miniatures WAT; CMC
one selection from List B 27 u On Tiptoe
Memory (3 marks per repertoire selection) 6
Bayly, Thomas H.
Technical Requirements 30 l Long, Long Ago (in Suzuki Violin School, Revised
Etudes: one etude from the Syllabus list 15 Edition, 1 ALF)
Technical Tests 15
– scales Bennett, Richard Rodney
– arpeggios Up Bow, Down Bow NOV
l Serenade
Ear Tests 10
Clapback 5 Birston, Harold
Playback 5 Excursions for Violin FHM
Total possible marks (pass = 60) 100 u In Ancient Times
Theory Co-requisite Blachford, Frank
None u Berceuse FHM
Colledge, Katherine, and Hugh Colledge
Waggon Wheels B&H
l Goldfish Bowl
Repertoire u Nightingale
Please see “Examination Repertoire” on p. 9 for important l Waterfall
information regarding this section of the examination. Coulthard, Jean
u The Climb Up Mount Royal (in A La Jeunesse
Candidates must prepare two contrasting selections by two CMC)
different composers: one from List A and one from List B.
de Keyser, Paul
Bullets used to denote selections for examination Violin Playtime, 1 FAB
purposes: l The Bells of St. Basil’s
l one selection u Poème
u selection is found in Violin Series, 2013 Edition: Hayes, Philip
Preparatory Violin Repertoire FHM u Canon (arr. Paul de Keyser in The Young Violinist’s
Repertoire, 1 FAB)
Huws Jones, Edward
The Really Easy Violin Book FAB
l Dinosaur Plod
Norton, Christopher
Microjazz Violin Collection, 1 B&H)
l Up the Scale
13 Preparatory
Rose, Michael Nelson, Sheila M.
u Song Piece by Piece, 1 B&H
u Flag Dance
Telfer, Nancy
l Over the Moon
Leading a Dog’s Life CMC
l Time for a Nap Rose, Michael
u March
List B Suzuki, Shin’ichi
Pieces in a Faster Tempo l Allegro (in Suzuki Violin School, Revised Edition, 1
ALF)
Traditional
l May Song (in Suzuki Violin School, Revised Edition, 1 Technical Requirements
ALF) Please see “Technical Requirements” on p. 11 for
l O Come, Little Children (in Suzuki Violin School, important information regarding this section of the
Revised Edition, 1 ALF) examination.
u The Old Woman and The Peddler (arr. Akiko Kinney
FHM)
u Playing Ball (arr. Stephen Chatman FHM)
Etudes
l Song of the Wind (in Suzuki Violin School, Revised Candidates must prepare one etude from the following list.
Edition, 1 ALF)
Bullets used to denote selections for examination
Barratt, Carol purposes:
Bravo! Violin B&H l one selection
l Round Dance u selection is found in Violin Series, 2013 Edition: Violin
u Quirk Technique and Etudes Preparatory–4 FHM
Birston, Harold
Excursions for Violin FHM Anderson, Gerald E. and Robert S. Frost
l I’m Crazybusy, I’m Tired All for Strings: A Comprehensive String Method, 1 KJO
u The Old Jalopy u D Scale Waltz
→ with repeat
Avsharian, Evelyn
Colledge, Katherine, and Hugh Colledge Fun with Basics: Children’s Music Series CHD
Waggon Wheels B&H l one of nos. 1, 3, 7
l Bell-ringers
u Knickerbocker Glory Cohen, Mary
l Polka Dots Superstudies for Violin 1 FAB
u Blast Off! (no. 1)
Coulthard, Jean l Robots Rocking at the Microchip Ball (no. 5)
l Let’s Play (in The Encore Series for Violin & Piano, 2
FHM) de Keyser, Paul
Violin Playtime Studies FAB
Ethridge, Jean l Birdsong (no. 5)
u The Subway Train FHM l The Bouncing Ball (no. 12)
Huws Jones, Edward l Galloping Arpeggios (no. 11)
The Really Easy Violin Book FAB l G String Ländler (no. 9)
l Spine Chiller l The Little Jester (no. 13)
u Tap Dance l Tick Tock Quavers (no. 7)
Janáček, Leoš, arr. Donkin, Christine

u Konopě (The Old City) (transc. Leoš Faltus in Get Fiddlin’! FHM
Mährische Tänze für Violine und Klavier UNI) l Beaver Mines (no. 1)
Kabalevsky, Dmitri Givens, Shirley

u Peter (transc. Konstantin Fortunatov in Kabalevsky: Adventures in Violinland, 1F GIV
Albumstücke PET) u Aren’t You Glad?
u Marching Notes
Krasev, A.
u Pony Trot (in The Young Violinist’s Repertoire, 1 FAB)
Preparatory 14
Adventures in Violinland, 2B GIV Harris, Paul
l The Laughing Fit Improve Your Scales!, 1–2 FAB
l Lovely Melody l Acrobatic Armadillos
l The Mountain Train l Delicate Dance
l On My Toes u Dragon Drama!
l The Riveter
RT, Zav, arr.
l Two of Us
Fiddleworks, 1 FHM
u Cripple Creek
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates must
play scales and arpeggios from memory.
Scales Keys Range Tempo Bowing

Major D, A 1 octave
start on open string = 60
Arpeggios
Major D, A 1 octave
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures Approximate Length

two to four measures
Example only
Playback
Candidates will be asked to play back a melody on the violin, based on the first three notes of a major scale. The examiner
will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note Keys Approximate Length

tonic D, A major four notes
Example only
15 Preparatory
Grade 1
Candidates in Grade 1 should be able to play whole bows, Bartók Béla
slurs, legato, and staccato strokes. There should be evidence l Andante (arr. Ede Zathureczky, no. 8 in For Children
of a steady, rhythmic pulse. Tone should be clear and (Gyermekeknek) EMB)
some variety in dynamic levels should be present. Tonality Birston, Harold
should be well centered. Excursions for Violin FHM
u March of the Elephants
Grade 1 Requirements Marks
Carse, Adam
Repertoire 60 Fiddle Fancies S&B
one selection from List A 27 l Bluebell Chimes
one selection from List B 27 u Sweet Sorrow
Cofalik, Antoni, and Romuald Twardowski
Technical Requirements 30 At the Zoo BAR
Etudes: two etudes from the Syllabus list 15 l The Bear (Der Bär)
Technical Tests 15
– scales Colledge, Katherine, and Hugh Colledge
– arpeggios Waggon Wheels B&H
l Bow Ties!
– double stops
l Full Moon
Ear Tests 10
Clapback 5 Coulthard, Jean
Playback 5 u Grandfather Tells a Witch Story
u A Song for Bedtime (in A La Jeunesse CMC)
Total possible marks (pass = 60) 100
Theory Co-requisite Cui, César
None u From My Homeland (arr. Paul de Keyser and Fanny
Waterman in The Young Violinist’s Repertoire, 3 FAB)
Donkin, Christine
Repertoire Costume Party FHM
Please see “Examination Repertoire” on p. 9 for important l The Sasquatch
information regarding this section of the examination. u The Tooth Fairy
Elgar, Edward
Candidates must prepare two contrasting selections by two Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
different composers, one from List A and one from List B. u Andante in C Major (no. 1)
Bullets used to denote selections for examination Handel, George Frideric
purposes: u Air from Rinaldo (arr. Kathleen Wood FHM)
l one selection l Chorus from Judas Maccabaeus (in Suzuki Violin
u selection is found in Violin Series, 2013 Edition: Violin School, Revised Edition, 2 ALF)
Repertoire 1 FHM Huws Jones, Edward
The Really Easy Violin Book FAB
List A l Skye
Pieces in a Slower Tempo Kabalevsky, Dmitri

Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
u A Song (no. 6)
Traditional
l All Through the Night (arr. Barbara Barber in Solos Lawes, Henry
for Young Violinists, 1 ALF) l A Canzonet (arr. Thomas Dunhill in Fiddler’s Choice,
u Un Canadien errant (The Wandering Canadian) (arr. 1 ABR)
David Duke in The Encore Series for Violin & Piano, 2 Popp, Paulette, arr. Christine Gale
FHM) u The Plucky Snake
l On the Wing (arr. Carol Barratt in Bravo! Violin B&H)
Sugár, Rezso
Song and Dance (in Violin Music for Beginners, 1 EMB)
l complete
Grade 1 16
Suzuki, Shin’ichi Fleming, Robert
l Andantino (in Suzuki Violin School, Revised Edition, 1 l Scotty Lad CMC
ALF)
Huws Jones, Edward
Telfer, Nancy The Really Easy Violin Book FAB
If Flowers Could Speak CMC l Boogie
l The Lonely Sunflower u Pipe and Tabor
Janáček, Leoš, arr.
List B u Moravian Dance (Dymák) (transc. Leoš Faltus in
Pieces in a Faster Tempo Mährische Tänze für Violine und Klavier UNI)
Kabalevsky, Dmitri
Anonymous Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
u Caterpillar! Caterpillar! (arr. Akiko Kinney FHM) l Dance Song (no. 10)
l Contredanse (in Violin Playtime, 2 FAB) l Games (no. 3)
l Minuet (attr. William Duncombe, arr. Carol Barratt, u March (no. 5)
in Bravo! Violin B&H) Lumsden, Caroline, and Ben Attwood
l Untitled Reel 1 (arr. John Beckwith, in Eight Wizard’s Potion PET
Miniatures from the Allen Ash Manuscript FHM) u Dizzy Lizzy Lightweight
Archer, Violet l Jump Slimy Toad
Twelve Miniatures WAT; CMC Mackay, Neil
l Jig Four Modern Dance Tunes S&B
Bach, Johann Sebastian u Cha-Cha
l Minuet 1 from Suite in G Minor, BWV 822 (arr. in → omit repeat
Suzuki Violin School, Revised Edition, 1 ALF) Matz, Rudolph
Bartók Béla A Spring Day – Seven Short Pieces
l Allegro non troppo (arr. Ede Zathureczky, no. 1 in l With Friends UMP
For Children (Gyermekeknek) EMB) Murray, Eleanor, and Phyllis Tate
u Dance (Táncdal) (arr. Ede Zathureczky, no. 5 in For Tunes for My Violin B&H
Children (Gyermekeknek) EMB) l The Gypsy Fiddler
Carse, Adam Nelson, Sheila M.
The Fiddler’s Nursery S&B Piece by Piece, 1 B&H
l A Bumpkin’s Dance u Whirlpool Waltz
l At Dawn Piece by Piece, 2 B&H
l Dance Steps l Dance of the Minor Thirds
l Minuet l Merry Go Round
Cofalik, Antoni, and Romuald Twardowski Norton, Christopher
At the Zoo BAR Microjazz Violin Collection, 1 B&H
l The Kangaroo (Das Känguru) u Snooker Table
l Two Little Donkeys (Zwei kleine Esel)
Schumann, Robert
Colledge, Katherine, and Hugh Colledge l The Happy Farmer (arr. in Suzuki Violin School,
Fast Forward B&H Revised Edition, 1 ALF)
l Hallowe’en u Soldier’s March, op. 68, no. 2 (arr. FHM)
l Singapore Sunset → with repeat
Waggon Wheels B&H
u Lollipop Man Suzuki, Shin’ichi
l Allegretto (in Suzuki Violin School, Revised Edition, 1
Donkin, Christine ALF)
Costume Party FHM
u The Cowboy
l The Magician Technical Requirements
l The Pirate Please see “Technical Requirements” on p. 11 for
Elgar, Edward important information regarding this section of the
Six Very Easy Pieces in the First Position, op. 22 FAB; BOS examination.
l Allegretto in C Major (no. 2)
17 Grade 1
Etudes Gale, Christine
u The Sulky Sailor
Candidates must prepare two technically contrasting
etudes from the following list. Givens, Shirley
Adventures in Violinland, 2B GIV
purposes: u Tuning Up!
l one selection Harris, Paul
u selection is found in Violin Series, 2013 Edition: Violin Improve Your Scales!, 1–2 FAB
Technique and Etudes Preparatory—4 FHM l Amusement Arcade
l Apish Antics
Anonymous
l Gentle Genie
u Bow Division FHM
Kinsey, Herbert
Cohen, Mary
Elementary Progressive Studies, set 1 ABR
Superstudies for Violin, 1 FAB
l one of nos. 1, 2, 7
l Rocking Rowboats (no. 6)
l Space Walk (no. 4) Metz, Louis
Superstudies for Violin, 2 FAB Vioolmethode, 2 B&V
u Gliding Along at the Octopus Ball (no. 9) l no. 48
de Keyser, Paul Romberg, Bernhard Heinrich
Violin Playtime Studies FAB Andante (arr. A. Baird Knechtel)
u
l Chugging Along (no. 25)
Suzuki, Shin’ichi
l Courageous Crotchets (no. 10)
Suzuki Violin School, Revised Edition, 1 ALF
l Legato Leaps (no. 14)
l Etude (with sixteenth-note variation)
l Puppet on Two Strings (no. 8)
l Perpetual Motion in A Major (with sixteenth-note
l The See-Saw (no. 2)
variation)
Donkin, Christine l Perpetual Motion in D Major (with sixteenth-note
Get Fiddlin’! FHM variation)
l Athabasca (no. 5)
Telfer, Nancy
l Crowsnest Pass (no. 2)
Ready to Go? CMC
u Nojack (no. 14)
u Little Red Sportscar
Entezami, Ramin
Melodious Etudes in First Position FIS
u The Little Eel (no. 9)
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination.
Candidates must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.

Major G 2 octaves
C 1 octave
= 69
Harmonic Minor A, D 1 octave
start on open string
Arpeggios
Major G 2 octaves
Major C 1 octave
= 69
Minor A, D 1 octave
Double Stops*
Exercise on Open Strings = 69
*See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM.
Grade 1 18
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the
piano.

three to four measures
Example only
1
Playback
Candidates will be asked to play back a melody on the violin, based on the first three notes of a major scale. The melody
may contain repeated notes and a leap of a 3rd. The examiner will name the key, play the tonic triad once, and play the
melody twice on the piano.

tonic D, A major four notes
Example only
1
19 Grade 1
Grade 2
Barnes, Milton
Candidates in Grade 2 should be able to play in all parts of Three Folk Dances CMC
the bow with good control and should be able to execute u Folk Dance No. 2
slurs, legato, and staccato strokes. Tone should be clear and
Bartók, Béla
some variety in dynamic levels should be present. Whole
l Chanson du Vagabond (Betyár Nóta) (arr. Ede
steps and half steps should be clearly defined in 1st and
Zathureczky, no. 4 in For Children (Gyermekeknek)
3rd positions and tonality should be well centred in both
EMB)
major and minor keys.
Bayly, Thomas H.
Grade 2 Requirements Marks l Long, Long Ago (with variation) (in Suzuki Violin
School, Revised Edition, 2 ALF)
Repertoire 60
one selection from List A 27 Beethoven, Ludwig van
one selection from List B 27 l Abschied (arr. Alfred Moffat in Old Fiddle Pieces,
Memory (3 marks per repertoire selection) 6 OTT)
Technical Requirements 30 Bennett, Richard Rodney
Etudes: two etudes from the Syllabus list 15 Up Bow, Down Bow NOV
Technical Tests 15 l A Little Elegy
– scales u A Quiet Conversation
– arpeggios
– double stops
Fast Forward B&H
Ear Tests 10 l Snake Charmer
Clapback 3 u Wondering
Intervals 3 Shooting Stars B&H
Playback 4 u The Misty Isle
Total possible marks (pass = 60) 100 Coulthard, Jean
Theory Co-requisite l A Little Sorrow (in The Encore Series for Violin &
None Piano, 2 FHM)
Donkin, Christine
Costume Party FHM
Repertoire l The Acrobat
Please see “Examination Repertoire” on p. 9 for important Elgar, Edward
information regarding this section of the examination. Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
Candidates must prepare two contrasting selections by two l Andante in A Minor (no. 3)
different composers, one from List A and one from List B. u Andantino in G Major (no. 4)
Ethridge, Jean
Bullets used to denote selections for examination u Cradle Song (in The Encore Series for Violin & Piano, 2
purposes: FHM)
l one selection
u selection is found in Violin Series, 2013 Edition: Violin Halvorsen, Johan
Repertoire 2 FHM u Mélodie (arr. Warren Mould FHM)
Heins, Donald
List A The Bell Boy Suite FHM
Pieces in a Slower Tempo u Prelude: “Calling Mr. Eccles”
u Aria and Bourrée
Archer, Violet Hook, James

l Tempo di menuetto (arr. Alfred Moffat in Old Masters
Twelve Miniatures WAT; CMC
l In Church
for Young Players, 3 OTT)
Bach, Johann Sebastian Kabalevsky, Dmitri

l Musette from English Suite No. 3, BWV 808 (arr. in
Suzuki Violin School, Revised Edition, 2 ALF) u Dreamers (no. 19)
l Melody (no. 14)
Grade 2 20
Laoureux, Nicolas Colledge, Katherine, and Hugh Colledge
l Petite Berceuse FRB Fast Forward B&H
u The Ceilidh
McDougall, Barbara
l Hornpipe
Tall Ships (arr. Judith McIvor FHM)
u
Shooting Stars B&H
Murray, Eleanor, and Phyllis Tate u Five-a-Side
Tunes for My Violin B&H l Look Lively
l Song of the Roads
De Fesch, Willem
l The Swan
l Esperanza (arr. Alfred Moffat in Old Fiddle Pieces
Pracht, Robert OTT)
Twelve Easy Pieces, op. 12 BMC
Donkin, Christine
l Romance
Costume Party FHM
Rameau, Jean-Philippe u The Dancer
l Two Sarabandes from Premier livre de pièces de clavecin Fall Fair FHM
(arr. Alfred Moffat in Old Fiddle Pieces OTT) u Fall Fair
Tchaikovsky, Pyotr Il’yich Duke, David
u Mélodie antique française (Old French Song) from u Motorcycles (in The Encore Series for Violin & Piano, 2
Album pour enfants (arr. FHM) FHM)
Telfer, Nancy Elgar, Edward
If Flowers Could Speak CMC Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
l Dance of the Peonies l Allegretto in G Major (no. 5)
u Allegro in C Major (no. 6)
List B Fleming, Robert
Pieces in a Faster Tempo l Singer Man CMC
Girard, Anthony
Traditional l Le soleil luit pour tout le monde BIL
l Maytime (arr. Paul de Keyser and Fanny Waterman, Handel, George Frideric
in The Young Violinist’s Repertoire, 3 FAB) l Bourrée, from Sonata in F Major for Oboe and Basso
Archer, Violet Continuo, HWV 363 (arr. in Suzuki Violin School,
Twelve Miniatures WAT; CMC Revised Edition, 2 ALF)
l Waltzing Haydn, Franz Joseph
Babell, William u Minuet and Trio, from Divertimento in D Major for
l Two Matelottes (arr. Alfred Moffat in Old Masters for Baryton, Viola, and Cello, Hob. XI:34 (arr. FHM)
Young Players, 3 OTT) Kabalevsky, Dmitri
Bach, Carl Philipp Emanuel Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
l Marche, BWV Anh. 122 (arr. Constance Seely- l Polka (no. 13)
Brown, in Ten Little Classics FIS) u Skipping and Hopping (no. 8)
Bach, Johann Sebastian, attr. Losy, Johann Anton [Jan Antonín]
l Minuet 2 (Minuet in G Major), from Notenbuch der l Bourrée (arr. Ferenc Brodzsky in Old Music for Violin
Anna Magdalena Bach, BWV Anh. 116 (arr. in Suzuki EMB)
Violin School, Revised Edition, 1 ALF) Lumsden, Caroline, and Ben Attwood
l Minuet 3 (Minuet in G Major) from Notenbuch der Wizard’s Potion PET
Anna Magdalena Bach, BWV Anh. 114 (Christian u Flash of Light’ning
Petzold: attr. J.S. Bach and arr. in Suzuki Violin School, l Strike It Lucky!
Revised Edition, 1 ALF)
Mackay, Neil
Clarke, Jeremiah Four Modern Dance Tunes S&B
u Minuet from Choice Lessons for the Harpsichord or l Rebecca
Spinet (arr. Christine Donkin FHM) u Tango
Cofalik, Antoni, and Romuald Twardowski
At the Zoo BAR
l The Beavers (Die Biber)
21 Grade 2
Mozart, Wolfgang Amadeus Donkin, Christine
l Pantomime, from Les petits riens, K 10 (arr. Paul de Get Fiddlin’! FHM
Keyser and Fanny Waterman in The Young Violinist’s l Osoyoos (no. 12)
Repertoire, 4 FAB) u Pancake Peak (no. 8)
→ play in 3rd position
Pracht, Robert
Twelve Easy Pieces, op. 12 BMC Geringas, Yaakov
u Hongrois (Hungarian) Shifting: Thirty Progressive Studies for Violinists FHM
→ observe repeat in Trio only l Country Dance (no. 17)
l Wandering u Gym (no. 2)
→ play with given fingering
Schubert, Franz
l Hide and Seek (no. 4)
u Waltz in D Major, D 420, no. 1 (arr. Kathleen Wood
FHM) Givens, Shirley
Adventures in Violinland, 3D GIV
Shostakovich, Dmitri
l Spend Your Bow Wisely
l Kleiner Marsch (arr. Konstantin Fortunatov in
Shostakovich: Albumstücke PET) Harris, Paul
u Hurdy-Gurdy (arr. Konstantin Fortunatov in Improve your Scales!, 1–2 FAB
Shostakovich: Albumstücke PET) l Arietta
l Greyhound
Weber, Carl Maria von
Improve your Scales!, 4 FAB
l Gypsy Dance (in The Young Violinist’s Repertoire, 3
l Drifting
FAB)
l Flamingo
l Hunters’ Chorus, from Der Freischütz (in Suzuki Violin
School, Revised Edition, 2 ALF) Kinsey, Herbert
l one of nos. 9, 10, 12, 14, 16
Technical Requirements
Metz, Louis
Please see “Technical Requirements” on p. 11 for Vioolmethode 2 B&V
important information regarding this section of the l one of nos. 13, 21, 40
examination.
Milburn, Richard
Etudes u Listen to the Mockingbird (arr. Shirley Givens in
Candidates must prepare two technically contrasting Adventures in Violinland, 3D GIV)
etudes from the following list. → play in 3rd position
Rhoda, Janice Tucker
The ABCs of Violin for The Absolute Beginner FIS
purposes:
l Bobbing for Apples Jig (no. 77)
l one selection
u selection is found in Violin Series, 2013 Edition: Violin Romberg, Bernhard Heinrich
Technique and Etudes Preparatory–4 FHM Twenty-seven Etudes for Strings GVT
u Sailing (arr. A. Baird Knechtel)
Traditional RT, Zav, arr.
u Charlie Is My Darling FHM Fiddleworks, 1 FHM
Cohen, Mary l Road to Lisdoonvarna
Scaley Monsters for Violin FAB Sitt, Hans
l Donkey Riding Studies for Violin, op. 32, 1 FIS
Superstudies for Violin, 2 FAB l no. 2 or no. 5
u Saturday Night Stomp
Suzuki, Shin’ichi
de Keyser, Paul Position Etudes, Revised Edition ALF
Violin Playtime Studies FAB l Perpetual Motion in G Major, 3rd Position (with
l German Folk-Song (no. 26) sixteenth-note variation, unaccompanied)
l March (no. 29)
u Rowing on the Lake (no. 27) Wohlfahrt, Franz
l Trumpet Tune (no. 18) Sixty Studies for Violin, op. 45, 1 SCH
u Study in F Major (no. 5)
l one of nos. 1, 2, 8, 9
Grade 2 22
Technical Tests

Major G, A
2 octaves = 80
Harmonic Minor G, A
Melodic Minor G, A 1 octave
Major F
1 octave = 80
D 1 octave in 3rd position
start on A string = 100
Arpeggios
Major G, A
2 octaves = 80
Minor G, A
Major F
1 octave = 80
D 1 octave in 3rd position

start on A string = 60
Double Stops*
Exercise on A and E Strings
= 80
Ear Tests
Clapback
piano.

four measures
Example only
1
23 Grade 2
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note

major 3rd
perfect 5th
Playback
Candidates will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody
may contain one or more leaps of a 3rd. The examiner will name the key, play the tonic triad once, and play the melody
twice on the piano.

tonic or dominant G, D, A major five notes
Example only
1
Grade 2 24
Grade 3
Candidates in Grade 3 should be able to use a variety of
bow strokes appropriately, including staccato, martelé, and
List A
detaché. Secure intonation in 1st, 2nd, and 3rd positions is Repertoire in Baroque and Classical Styles
required, including the ability to shift between positions
with accuracy and fluency. The development of vibrato is Albrechtsberger, Johann Georg
encouraged at this level. u Minuetto and Trio in D Major, from Symphony No. 3
in D Major (arr. Paul Jenkins FHM)
Arne, Thomas A.
Repertoire 60 l Melodie in G Major (arr. Alfred Moffat in Old Masters
one selection from List A 18 for Young Players, 1 OTT)
one selection from List B 18
one selection from List C 18 Bach, Johann Sebastian, attr.
Memory (2 marks per repertoire selection) 6 l Minuet, from Notenbuch der Anna Magdalena Bach,
BWV Anh. 114 (Christian Petzold: attr. J.S. Bach and
Technical Requirements 20 arr. in Suzuki Violin School, Revised Edition, 3 ALF)
Etudes: two etudes from the Syllabus list 10 u Musette, from Notenbuch der Anna Magdalena Bach,
Technical Tests 10 BWV Anh. 126 (arr. Kathleen Wood FHM)
– scales
– arpeggios Becker, Jean
– double stops l Gavotte (in Suzuki Violin School, Revised Edition, 3
ALF)
Ear Tests 10
Clapback 3 Beethoven, Ludwig van
Intervals 3 l Minuet in G Major, from Sechs Menuette, WoO 10, no.
Playback 4 2 (arr. in Suzuki Violin School, Revised Edition, 2 ALF)
Sight Reading 10 Diabelli, Anton
Playing 7 Sonatina, op. 163, no. 4
Clapping 3 u 2nd movement: Andante cantabile (arr. Kathleen
Total possible marks (pass = 60) 100 Wood FHM)
Theory Co-requisite Gossec, François-Joseph
None l Gavotte (in Suzuki Violin School, Revised Edition, 1
ALF)
Repertoire Hasse, Johann Adolph

Two Dances (arr. Alfred Moffat, in Old Masters for Young
Please see “Examination Repertoire” on p. 9 for important Players, 1 OTT)
information regarding this section of the examination. l Bourrée and Menuett
Candidates must prepare three contrasting selections by Küchler, Ferdinand

three different composers, one from List A, one from List B, Concertino in G Major, op. 11 BOS
and one from List C. u 1st movement
Lully, Jean-Baptiste
Bullets used to denote selections for examination l Gavotte (in Suzuki Violin School, Revised Edition, 2
purposes: ALF)
l one selection
u selection is found in Violin Series, 2013 Edition: Violin Martini, Giovanni Battista
Repertoire 3 FHM l Gavotte (in Suzuki Violin School, Revised Edition, 3
ALF)
Montéclair, Michel Pignolet de
l Two Minuets (in Position Pieces for Violin and Piano, 2
FAB)
25 Grade 3
Pepusch, Johann Christoph Mendelssohn, Ludwig
l Theatermusik (arr. Alfred Moffat in Old Fiddle Pieces Miniatures: Fifteen Pieces for Violin, op. 62 BOS
OTT) l Cavatina (no. 4)
l Little Waltz (no. 2)
Sammartini, Giuseppe
l Mouvement d’une Sérénade (arr. Alfred Moffat in Old Paganini, Niccolò
Fiddle Pieces OTT) l Theme, from Witches’ Dance (arr. in Suzuki Violin
School, Revised Edition, 2 ALF)
Steibelt, Daniel
l Divertimento (arr. Alfred Moffat, in Old Fiddle Pieces Schumann, Robert
OTT; The Young Violinist’s Repertoire, 2 FAB) l The Two Grenadiers, op. 49, no. 1 (arr. in Suzuki
Violin School, Revised Edition, 2 ALF)
Telemann, Georg Philipp
Sonatina in F Major, TWV 41:F1 Tchaikovsky, Pyotr Il’yich
u 3rd movement: Presto (arr. Kathleen Wood FHM) l Sharmanka (in The Young Violinist’s Repertoire, 2 FAB)
List B List C
Traditional and Romantic Repertoire Repertoire Composed After 1930
Anonymous Archer, Violet

l Untitled Reel 2 (arr. John Beckwith, in Eight Twelve Miniatures WAT; CMC
Miniatures from the Allen Ash Manuscript FHM) l Joyous
Traditional Chase, Bruce
u Nouvelle agréable (arr. Christine Donkin FHM) Fiddle & Fun in First Position HAL
→ play with fingering indicated u Gabby Ghost
u Skye Boat Song (arr. Hugh J. McLean FHM)
Shooting Stars B&H
Alard, Jean-Delphin u Cossacks
u Nocturne (In the Second Position) FHM u Moto perpetuo
→ play in 2nd position
Coulthard, Jean
Baklanova, Nathalia u A Sad Waltz (in The Encore Series for Violin & Piano, 3
Acht leichte Stücke für Violine und Klavier PET FHM)
u Mazurka (no. 4) (in The Young Violinist’s Repertoire, 3 l Under the Sea (in The Encore Series for Violin & Piano,
FAB) 4 FHM)
→ observe repeat mm. 33 to 40
Donkin, Christine
l Romance (no. 3)
Fall Fair FHM
Blachford, Frank u The Farmers’ Market
u Minor Mode FHM l Midway Ride
Brahms, Johannes Duke, David
l Waltz, from Walzer, op. 39, no. 15 (arr. in Suzuki l Pibroch (in The Encore Series for Violin & Piano, 2
Violin School, Revised Edition, 2 ALF) FHM)
Carse, Adam Fiala, George
Fiddle Fancies S&B u Wallaby’s Lullaby, op. 5 BER
l Waltz Steps
Fleming, Robert
Dvořák, Antonín l Berceuse CMC
l From “Songs My Mother Taught Me,” op. 55, no. 4 l Whistler’s Tune CMC
(in The Young Violinist’s Repertoire, 2 FAB)
Kabalevsky, Dmitri
Grieg, Edvard Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
u Wedding Tune, op. 17, no. 24 (arr. Kathleen Wood u On Holiday (no. 15)
FHM)
Khachaturian, Aram
l The Little Horse (in Position Pieces for Violin and Piano,
Méhul, Etienne 3 FAB)
l Romance (arr. Alfred Moffat in Old Fiddle Pieces OTT)
Grade 3 26
Kroll, William Donkin, Christine
Three Violin Pieces in the First Position SCH Get Fiddlin’! FHM
u Donkey Doodle (in Solos for Young Violinists, 1 ALF) l Kananaskis (no. 22)
l Mosquito Creek (no. 20)
Lumsden, Caroline, and Ben Atwood
l Simonette River (no. 16)
Wizard’s Potion PET
l Wild Horse (no. 10)
l Grab the Slippery Toad!
Entezami, Ramin
Norton, Christopher
Melodious Etudes in First Position FIS
Microjazz Violin Collection, 2 B&H
u The Fellow (no. 31)
l A Dramatic Episode
l Fly Away Geringas, Yaakov
Shifting: Thirty Progressive Studies for Violinists FHM
Persichetti, Vincent
l Aim and Shoot (no. 8)
Masques, op. 99 EVO
l Cradle Song (no. 6)
l Masque No. 1
u The First Skating Lesson (no. 5)
Pracht, Robert l King Counter (no. 7)
Twelve Easy Pieces, op. 12 BMC l Round Dance (no. 3)
l Perpetuum Mobile l Sadness (no. 18)
l Tarantella l Tag (no. 11)
l Up and Down the Ladder (no. 1)
u The Clockwork Doll, from Children’s Notebook, op. Givens, Shirley
69 (arr. Konstantin Fortunatov, in Shostakovich: Adventures in Violinland, 3D GIV
Albumstücke PET) u Who Has Seen the Wind?
Wilson, Peter
Space Stringpops FAB Kayser, Heinrich Ernst
l Space Walk Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
Technical Requirements Kinsey, Herbert

Please see “Technical Requirements” on p. 11 for l no. 11 or no. 18
important information regarding this section of the
examination. Mackay, Neil
Position Changing for the Violin OUP
Etudes u The Fair Isle (no. 2)
l Tyrolean Air (no. 18)
Candidates must prepare two technically contrasting
etudes from the following list. Metz, Louis
Vioolmethode, 3 B&V
Bullets used to denote selections for examination l no. 8
purposes: Rapoport, Katharine
l one selection u Kites FHM
u selection is found in Violin Series, 2013 Edition: Violin → play in 2nd position
Technique and Etudes Preparatory–4 FHM
Sitt, Hans
Studies for the Violin, op. 32, 1 FIS
Cohen, Mary l no. 3 or no. 4
Superstudies for Violin, 2 FAB
l Fivepenny Waltz (no. 8) Trott, Josephine
l Hot Chocolate Treat (no. 3) Melodious Double Stops, 1 SCH
l The Snake-Charmer’s Lament (no. 7) l one of nos. 1, 2, 4, 6, 7, 8
u The Whirly Bird and the Hen (no. 9) Wohlfahrt, Franz
de Keyser, Paul Forty Elementary Studies, op. 54 FIS; SCH; PET
Violin Playtime Studies FAB l no. 9 or no. 35
l Allegro Brillante (no. 30) Sixty Studies for Violin, op. 45, 1 SCH
u Study in G Major (no. 4)
l one of nos. 6, 14, 16, 20
Sixty Studies for Violin, op. 45, 2 SCH
u Study in B flat Major (no. 37)
27 Grade 3
Technical Tests

Major B , C, D
2 octaves = 100
Harmonic and Melodic Minor C, D
Major F
Harmonic and 1 octave in 2nd position = 60
F
Melodic Minor
Chromatic 1 octave
on D = 66
Arpeggios
Major B , C, D
2 octaves = 88
Minor C, D
Major F
1 octave in 2nd position = 60
Minor F
Double Stops*
Exercise on D and A Strings = 60
Ear Tests
Clapback
piano.

four measures
Example only
1
Grade 3 28
Intervals
the piano.
or
Above a Given Note Below a Given Note

major 3rd minor 3rd
perfect 5th perfect 5th
perfect octave
Playback
Candidates will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody
may contain leaps of a 3rd and/or a 5th. The examiner will name the key, play the tonic triad once, and play the melody
twice on the piano.

tonic, mediant, or dominant G, D, A major five to eight notes
Example only
1
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. This may contain dynamics ( , , , , dim., cresc.), symbols
( ), articulation, and bowing indications (two-note legato or staccato slurs).
Difficulty Time Signatures Keys Positions Approximate Length

Grade 1 repertoire G, D, A major 1st eight to twelve measures
Clapping
Candidates will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected.

four measures
Example only
29 Grade 3
Grade 4
Candidates in Grade 4 should be able to use a variety
of bow strokes appropriately, including brush strokes,
List A
staccato, martelé, and detaché. Secure intonation in 1st to Concertos, Sonatinas, and Fantasias
4th positions is expected, including the ability to shift
between positions with accuracy and fluency. Some Baklanova, Natalya Vladimirovna
vibrato is expected at this level. Acht leichte Stücke für Violine und Klavier PET
l Concertino (no. 8)
Dancla, Charles
Repertoire 60 Douze fantasies sur motifs favouris, op. 86 FIS
one selection from List A 18 l Le cor des Alpes–Valse du Freischütz (no. 11)
one selection from List B 18 l Fleuve du Tage (no. 8)
one selection from List C 18 l Rédowa de Wallerstein (no. 3)
Küchler, Ferdinand
Technical Requirements 20 Concertino in D Major, op. 12 BOS
Etudes: two etudes from the Syllabus list 10 l 1st or 3rd movement
Technical Tests 10 Concertino in the Style of Antonio Vivaldi, op. 15 BOS; (in
– scales Solos for Young Violinists, 1 ALF)
– arpeggios l 1st movement
– double stops u 3rd movement
Ear Tests 10 Millies, Hans Mollenhauer
Clapback 3 Concertino in the Style of W.A. Mozart (abridged) NOV
Intervals 3 u 1st movement
Playback 4
Mollenhauer, Eduard
Sight Reading 10 u The Infant Paganini: Fantasia FIS
Playing 7
Clapping 3 Perlman, George
Concertino in A Minor (in Fun with Solos CHD)
Total possible marks (pass = 60) 100 l 3rd movement
Theory Co-requisite Portnoff, Leo
None Russian Fantasias BOS
l Russian Fantasia No. 2 in D Minor
Repertoire l Russian Fantasia No. 3 in A Minor
Please see “Examination Repertoire” on p. 9 for important Rieding, Oskar

information regarding this section of the examination. Concerto in B Minor, op. 35 BAR; BOS
l 1st movement
Candidates must prepare three contrasting selections by u 3rd movement
three different composers: one from List A, one from List B, Concerto in D Major, op. 36 BOS
and one from List C. l 3rd movement
Concerto in G Major, op. 34 BOS
Bullets used to denote selections for examination l 1st movement
purposes: Ruegger, Charlotte
l one selection l Concertante in G Major FIS
u selection is found in Violin Series, 2013 Edition: Violin
Repertoire 4 FHM Steibelt, Daniel
Sonatine, op. 33, no. 1
u 1st movement
Grade 4 30
List B Bennett, Richard Rodney
Up Bow, Down Bow NOV
Repertoire in Baroque Style u Merry-Go-Round
Bloch, József
Anonymous
Vier leichte Stücke, op. 36 SDM
u Bourrée, from Leopold Mozart, Notenbuch für
l Historiette (no. 4)
Wolfgang (arr. Kathleen Wood FHM)
Boccherini, Luigi
Aubert, Jacques
l Minuet (in Suzuki Violin School, Revised Edition, 2
l Two Minuets (arr. Elma Doflein and Erich Doflein in
ALF)
Musik für Violine und Klavier, 2 OTT)
Bouchard, Rémi
Bach, Johann Sebastian
Suite for Violin and Piano BMC
l Gavotte in G Minor (Gavotte en rondeau) from Suite
l String Along
in G Minor for Harpsichord, BWV 822, arr. in Suzuki
Violin School, Revised Edition, 3 ALF) Dancla, Charles
u Giguetta from Sarabande con Partite, BWV 990, XVI: Petite école de la mélodie, op. 123, 1 OTT
L’ultima Partita o Giguetta (arr. Constance Seely- l Polka (no. 6)
Brown in Ten Little Classics FIS and Solos for Young
Dvořák, Antonín
Violinists, 1 ALF)
l Humoresque (from Humoresques for Piano, op. 101,
Corelli, Arcangelo no. 7, arr. in Suzuki Violin School, Revised Edition, 3
Sonata in F Major, op. 5, no. 10 ALF)
u 4th movement: Gavotta (arr. Kathleen Wood FHM)
Ethridge, Jean
Handel, George Frideric l Two Blues (in The Encore Series for Violin & Piano, 3
l Sarabande from Concerto in G Minor for oboe, FHM)
strings, and basso continuo, HWV 287 (arr. Harold
Hook, James
Edwin Darke ABR)
l My Heart Is Devoted, Dear Mary, to Thee (arr. John
u Sarabande from Keyboard Suite in D Minor, HWV
Beckwith, in Eight Miniatures from the Allen Ash
447 (arr. Christine Gale FHM)
Manuscript FHM)
Lully, Jean-Baptiste
Kabalevsky, Dmitri
l Gavotte and Musette (arr. Alfred Moffat, in Old
Masters for Young Players, 1 OTT)
l Ping Pong (no. 18)
Telemann, Georg Philipp u Summer Song (no. 16)
Sonatina No. 2 in B flat Major, TWV 41:B2
Mendelssohn, Felix
l Presto (in Baroque Violin Pieces, 2 ABR)
l Allegro non troppo, from Sechs Kinderstücke, op. 72,
Thomas, Ambroise no. 1 (arr. István Nagy in Leichte Stücke für Violine und
l Gavotte from Mignon (arr. in Suzuki Violin School, Klavier UNI)
Mendelssohn, Ludwig
Miniatures: Fifteen Pieces for Violin, op. 62 BOS
List C l Conte sérieux (no. 6)
Concert Repertoire l Mosquito Dance (no. 5) (in Solos for Young Violinists, 1
ALF)
u Soldatenmarsch (Soldier’s March) (no. 3)
Traditional
l Bán Chnoic Eireann O (arr. T.C. Kelly in Irish Tunes, Nakada, Yoshinao
2 OSS) Japanese Festival
l The Lark in the Clear Air (arr. T.C. Kelly in Irish u The Song of Twilight (in Position Pieces for Violin and
Tunes, 2 OSS) Piano PRE)
→ play in 4th position
Baklanova, Natalya Vladimirovna
Acht leichte Stücke für Violine und Klavier PET Nelson, Sheila M.
l Allegro (no. 6) Moving Up Again B&H
u Fast Dance (Reigen) (no. 2) (in The Young Violinist’s l Caprice
Repertoire, 3 FAB) l Moto Perpetuo
Barns, Ethel Palaschko, Johannes

u Le faun (in Music for Strings LEE) Ten Easy Pieces, op. 65
l March of the Pirates (no. 5)
31 Grade 4
Schumann, Robert Geringas, Yaakov
u Knecht Ruprecht (Knight Rupert) from Album für die Shifting: Thirty Progressive Studies for Violinists FHM
Jugend, op. 68 (arr. FHM) l Agitation (no. 19)
l At the Skating Rink (no. 28)
Spies, Ernst
l Barcarolle (no. 30)
Sechs Stücke, op. 45 OTT
u Grasshopper (no. 10)
l Menuetto (no. 5) FIS
l Hop Scotch (no. 15)
Rieding, Oskar l Lost in the Woods (no. 22)
Vier Leichte Vortragsstücke, op. 23 BUT l March (no. 20)
l Ziguernermarsch (no. 2) BOS l Old Dance (no. 12)
u Playing Ball (no. 9)
Tchaikovsky, Pyotr Il’yich
l A Pleasant Day (no. 21)
u Danse napolitaine (Neapolitan Dance) from Swan
l Scherzino (no. 25)
Lake, op. 20 (arr. FHM)
l Tongue Twister (no. 29)
Trott, Josephine
Grissen, Carl
l The Puppet Show, op. 5, no. 1 (in Solos for Young
Learn With Tunes, 3 WIL
Violinists, 1 ALF)
l Lesson 17 (no. 3)
Vaughan Williams, Ralph l Lesson 19 (no. 4)
Six Studies in English Folk-Song S&B
Kayser, Heinrich Ernst
l Andante Tranquillo (no. 6)
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
l no. 4 or no. 13
Technical Requirements Kinnard, Kathryn Bird
Please see “Technical Requirements” on p. 11 for Easy Songs for Shifting in the First Five Positions ALF
important information regarding this section of the l Gypsy Dance
examination. u Inch Worm
→ play with given fingering
Etudes l Popsicles
Candidates must prepare two technically contrasting Kinsey, Herbert

etudes from the following list. Elementary Progressive Studies, 2 ABR
l Set 1, no. 19
Bullets used to denote selections for examination l Set 2, no. 7
purposes: Panofka, Heinrich
l one selection l no. 10 or no. 26 (in Studies in Lyricism for Violin FIS)
Technique and Etudes Preparatory—4 FHM RT, Zav, arr.
Fiddleworks, 3 FHM
u Ostinelli’s Reel
Cohen, Mary
Technique Takes Off!, 2 FAB Sitt, Hans
l Magic Carpet Ride (no. 11) Studies for the Violin, op. 32, 1 FIS
u The Mill Wheel (no. 4) l no. 6 or no. 7
Entezami, Ramin Trott, Josephine

Melodious Etudes in First Position FIS Melodious Double Stops, 1 SCH
u The Happy Wire-Haired Dachshund (no. 60) u Melodious Double Stops (no. 9)
→ with repeat l no. 5
l Little Boat on the Sea (no. 59) Wohlfahrt, Franz
Forty Elementary Studies, op. 54 FIS; SCH; PET
l no. 8
u Study in F Major (no. 6)
l one of nos. 18, 31–37 (omit articulations)
Grade 4 32
Technical Tests

Major A , B, E
2 octaves = 60
Harmonic and Melodic Minor B, E
Major E
Harmonic and 1 octave in 4th position = 84
E
Melodic Minor
Major
B 1 octave on A string = 84
Chromatic 1 octave
on E = 84
start on D string
Arpeggios
Major A , B, E = 96
2 octaves
Minor B, E
Major E
1 octave in 4th position = 84
Minor E
Dominant 7th of Major Keys G (starting on D), 1 octave
D (starting on A) start on open string = 84
Diminished 7th of Minor Keys B (starting on A ), 1 octave
E (starting on D ) start on open string = 84
Double Stops
Major in Broken 6ths
E 1 octave = 60
Ear Tests
Clapback
piano.

three to four measures
Example only
1
33 Grade 4
Intervals
the piano.
or

major and minor 3rds minor 3rd
perfect 4th
perfect octave perfect octave
Playback
Candidates will be asked to play back a melody, based on the first five notes of a major scale, on the violin. The examiner
will name the key, play the tonic triad once, and play the melody twice on the piano.

tonic, mediant, or dominant C, G, D, A major six notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 4 may include accidentals,
tenuto markings, and dynamic indications from to .

Grade 2 repertoire C, F, G, D major 1st eight to twelve measures
Clapping
Candidates will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.

four measures
Example only
Grade 4 34
Grade 5
Candidates in Grade 5 should have a well-developed
brush stroke and beginning collé and spiccato strokes.
List A
Secure intonation in 1st to 5th positions is expected, Concertos, Airs variés, and Fantasias
including the ability to shift between positions with
accuracy and fluency. Candidates should be able to Bacewicz, Grażyna
produce vibrato consistently with all fingers. Concertino PWM
u 1st movement
Bériot, Charles-Auguste de
Repertoire 60 l Air varié No. 14 in G Major (in Solos for Young
one selection from List A 17 Violinists, 2 ALF)
one selection from List C 17 Dancla, Charles
Memory (3 marks each for List A and List C) 6 Airs variés, op. 89 OTT; FIS; SCH
l Air varié on a Theme by Pacini (no. 1)
Technical Requirements 20 Douze fantasies sur motifs favouris, op. 86 FIS
Etudes: two etudes from the Syllabus list 10 l La Cenerentola (no. 7)
Technical Tests 10 l Donna del Lago–Air suisse (no. 4)
– scales l Les noces de Figaro–Le crociato (no. 10)
– arpeggios u Plaisir d’amour (no. 12)
l Les Puritains (no. 9)
Ear Tests 10
Clapback 3 Huber, Adolf
Intervals 3 Concertino in G Major, op. 6, no. 2 FIS
Playback 4 l 1st movement (to end of p. 1 of violin part)
Sight Reading 10 Concertino in G Major, op. 8, no. 4 FIS
Playing 7 l complete
Clapping 3 Járdányi, Pál
Total possible marks (pass = 60) 100 l Concertino EMB
Theory Co-requisite Portnoff, Leo

Basic Rudiments Russian Fantasias BOS
l Russian Fantasia No. 1 in A Minor BOS
Repertoire Rieding, Oskar

u Air varié, op. 23, no. 3 BOS
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination. Seitz, Friedrich
Concerto No. 2 in G Major, op. 13 BOS; SCH (in Suzuki
Candidates must prepare three contrasting selections by Violin School, Revised Edition, 4 ALF)
three different composers: one from List A, one from List B, l 3rd movement
and one from List C. Concerto No. 5 in D Major, op. 22 BOS; SCH (in Suzuki
Violin School, Revised Edition, 4 ALF)
purposes:
l one selection
Repertoire 5 FHM
35 Grade 5
List B List C
Sonatas and Sonatinas Concert Repertoire
Corelli, Arcangelo Traditional

12 Sonate, op. 5 BAR; OTT u Ukrainian Folk Song (arr. Michael Conway Baker)
Sonata No. 7 in D Minor (arr. István Homolya EMB)
Adaskin, Murray
l 1st movement: Preludio and 2nd movement:
l Quiet Song CMC
Corrente
l 3rd movement: Sarabanda and 4th movement: Giga Bach, Johann Sebastian
Sonata No. 8 in E Minor l Bourrée from Suite for Cello No. 3 in C Major, BWV
l 1st movement: Preludio and 2nd movement: 1009 (arr. in Suzuki Violin School, Revised Edition, 3
Allemanda ALF)
l 3rd movement: Sarabanda and 4th movement: Giga
Blachford, Frank
Sonata No. 9 in A Major
u Mazurka FHM
l 1st movement: Preludio and 2nd movement: Giga
Sonata No. 11 in E Major Bohm, Carl
l 1st movement: Preludio and 2nd movement: Allegro l Moto Perpetuo (from the “Third Suite” BMC)
De Fesch, William Coulthard, Jean
Sonata in G Major, op. 8, no. 4 l On the March BER; CMC
l Largo and Allemanda (in Baroque Violin Pieces, 2 ABR) l Music on a Hebridean Folk Song (in The Encore Series
for Violin & Piano, 5 FHM)
Pepusch, Johann Christoph
Six Sonatas, op. 1 OTT Dolin, Samuel
Sonata No. 3 in G Major (arr. René Colwell OTT) u Little Sombrero BER; CMC
l 1st movement: Adagio and 2nd movement: Allegro
Donkin, Christine
l 3rd movement: Adagio and 4th movement: Allegro
Fall Fair FHM
Sonata No. 5 in G Major (arr. Siegfried Pritsche PET; arr.
l Barn Dance
René Colwell OTT)
l 1st movement: Adagio and 2nd movement: Allegro Duke, David
l 3rd movement: Adagio and 4th movement: Allegro u Abracadabra (for Kathy Rapoport) (in The Encore
Series for Violin & Piano, 4 FHM)
Scarlatti, Domenico
Sonata No. 2 in E Minor, K 81 (in 5 Sonate per violino e Ethridge, Jean
basso continuo EMB) u Fairy Tale (in The Encore Series for Violin & Piano, 6
l 3rd movement: Grave and 4th movement: Allegro FHM)
Sonata No. 5 in G Major, K 91 (in 5 Sonate per violino e l Gig (in The Encore Series for Violin & Piano, 5 FHM)
basso continuo EMB) l Reverie (in The Encore Series for Violin & Piano, 4
l 3rd movement: Grave and 4th movement: Allegro FHM)
Telemann, Georg Philipp Gluck, Christoph Willibald
Sei Sonatine per Violino e Cembalo EMB u Musette and Air de ballet, from Armide (arr. Kathleen
Sonata in E Major, TWV 41: E1 Wood FHM)
u 1st movement: Affettuoso–Siciliano and 4th
Grieg, Edvard
movement: Allegro (arr. Kathleen Wood FHM)
u Waltz from Lyric Pieces op. 12, no. 2 (arr. Hans Sitt)
→ with all repeats
(in Solos for the Violin Player HAL; SCH)
Vanhal, Johann Baptist → with repeat
Kurz und leichte Klavierstücke begleitet mit einer Violine
Hadjiev, Parashkev
Sonata No. 1 (in Easy Classical Sonatas for Violin and Piano
u Rondino (in The Young Violinist’s Repertoire, 4 FAB)
EMB)
u 1st movement: Cadenza-Siciliano and 2nd Heins, Donald
movement: Allegretto l Country Dance PRE
Weber, Carl Maria von Jaque, Rhené
Six sonates progressives pour le pianoforte avec violon obligé, l Daussila BER
op. 10b HEN l Mouvement perpétuel IND
Sonata No. 2
Jenkinson, Ezra
u 3rd movement: Air Polonais
l Elfentanz (Danse des sylphes) BOS; (in Solos for Young
Violinists, 1 ALF)
Grade 5 36
Kreisler, Fritz Concone, Giuseppe
Four Pieces for Violin and Piano FIS; MAS l Andante Cantabile (no. 13) (in Studies in Lyricism for
u Toy Soldiers’ March Violin FIS)
Mendelssohn, Ludwig Geringas, Yaakov
Miniatures: Fifteen Pieces for Violin, op. 62 BOS Shifting: Thirty Progressive Studies for Violinists FHM
l Polonaise (no. 1) u Ballet Variation (no. 23)
l Love My Mum (no. 26)
Norton, Christopher
Microjazz Violin Collection, 2 B&H Griesdale, Susan
l Snow Dance Soundplay: Eight Character Pieces GRI
u Jolly Rondo
u Dance from Dances of the Dolls (arr. Konstantin Grissen, Carl
Fortunatov, in Shostakovich: Albumstücke PET) Learn With Tunes, 3 WIL
l Lesson 21 (no. 6)
Vaughan Williams, Ralph
Six Studies in English Folk-Song S&B Kayser, Heinrich Ernst
u Allegro Vivace (no. 6) Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
Woof, Rowsby
u Study in G Major (no. 13)
l Hornpipe (in Fiddler’s Choice, 6 ABR)
l one of nos. 5, 6, 8, 19
Sitt, Hans
Technical Requirements Studies for the Violin, op. 32, 1 FIS
Please see “Technical Requirements” on p. 11 for u Study in C Major (no. 12)
important information regarding this section of the l one of nos. 8–11
examination. Trott, Josephine
Melodious Double Stops, 1 SCH
Etudes u Melodious Double Stops (no. 11)
Candidates must prepare two technically contrasting l one of nos. 10, 12, 13, 15, 16, 18
etudes from the following list. Wohlfahrt, Franz
Fifty Easy Melodic Studies, op. 74, 1 FIS
Bullets used to denote selections for examination l no. 21
purposes: Fifty Easy Melodic Studies, op. 74, 2 FIS
l one selection u no. 29
u selection is found in Violin Series, 2013 Edition: Violin Forty Elementary Studies, op. 54 SCH; PET
Etudes and Technique 5–8 FHM l no. 18
Cohen, Mary Sixty Studies for Violin, op. 45, 2 SCH; FIS
Technique Takes Off!, FAB u Study in C Major (no. 42)
u The Bee’s Knees! (no. 12) l no. 44 or no. 45
→ omit all repeats
l Dragon Dance (no. 7)
l Looping the Loop (no. 4)
37 Grade 5
Technical Tests
Technique and Etudes 5–8 FHM for required patterns.
Major G 3 octaves = 76
Major A , E, F or
Harmonic and 2 octaves = 88
G , E, F
Melodic Minor
Major C 1 octave on A string = 84
Chromatic on G, on A 2 octaves = 76
Arpeggios
Major A , E, F
2 octaves = 120
Minor G , E, F
Major C 1 octave on A string = 84
Dominant 7th of C (starting on G),

2 octaves = 104
Major Keys D (starting on A)
Diminished 7th A (starting on G ),
2 octaves
of Minor Keys B (starting on A ) = 104
Double Stops
Major in 6ths G, B 1 octave

= 72
Ear Tests
Clapback
piano.

Example
1
Grade 5 38
Intervals
the piano.
or

major and minor 3rds major and minor 3rds
perfect 4th
major and minor 6ths
Playback
Candidates will be asked to play back a melody on the violin, based on the first five notes and the upper tonic of a major
scale. The examiner will name the key, play the tonic triad once, and play the melody twice on the piano.

tonic, mediant, or dominant C, G, D, A major seven notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 5 may include pizzicato and
arco markings.

Grade 3
C, F, G, D, A, E major 1st, 3rd sixteen measures
repertoire
Clapping

four measures
Example only
39 Grade 5
Grade 6
brush stroke and be able to execute collé and spiccato
List A
strokes. Secure intonation in 1st to 5th positions is Concertos, Airs variés, and Fantasias
expected, including the ability to shift between positions
with accuracy and fluency. Vibrato should be firmly Dancla, Charles
established and used consistently where appropriate. A Airs variés, op. 89 OTT; FIS; SCH
variety of dynamic levels should be evident. u Air varié on a Theme by Rossini (no. 2)
l Air varié on a Theme by Donizetti (no. 4)
Grade 6 Requirements Marks l Air varié on a Theme by Mercadante (no. 6)
Repertoire 60 Huber, Adolph
one selection from List A 17 Student Concertino in G Major, op. 6, no. 2 FIS
one selection from List B 20 l 3rd movement
one selection from List C 17
Memory (3 marks each for List A and List C) 6 Komorowski, Anatoli
Concerto No. 2 in A Major PET
Technical Requirements 20 l 3rd movement: Allegro molto
Etudes: two etudes from the Syllabus list 10
Technical Tests 10 Kymlicka, Milan
– scales Concertino Grosso CAN
– arpeggios l 1st and 3rd movements
– double stops Mollenhauer, Eduard
Ear Tests 10 u The Boy Paganini: Fantasia FIS (in Solos for Young
Clapback 2 Violinists, 2 ALF)
Intervals 3
Portnoff, Leo
Chords 2
Concertino in A Minor, op. 14 BOS
Playback 3
l 1st movement
Sight Reading 10
Playing 7 Rieding, Oskar
Clapping 3 Concertino in A Minor (In Hungarian Style), op. 21 BAR;
BOS
Total possible marks (pass = 60) 100 l 1st movement to Andante sostenuto
Theory Co-requisite Concerto in G Major, op. 24 BOS
Intermediate Rudiments l 3rd movement
Seitz, Friedrich
Concerto No. 1 in D Major, op. 7 BOS; SCH
Repertoire l 3rd movement
Concerto No. 2 in G Major, op. 13 BAR; BOS; SCH
Please see “Examination Repertoire” on p. 9 for important l 1st movement
information regarding this section of the examination. Concerto No. 5 in D Major, op. 22 BOS; SCH (in Suzuki
Violin School, Revised Edition, 4 ALF; BAR)
Candidates must prepare three contrasting selections by l 3rd movement
three different composers: one from List A, one from List B,
and one from List C. Telemann, Georg Philipp
Concerto in G Major, op. 3, no. 3 PET
purposes: Tessarini, Carlo
l one selection Concerto in G Major, op. 1, no. 3 (arr. Hermann Muller B&H)
u selection is found in Violin Series, 2013 Edition: Violin l 1st movement
Repertoire 6 FHM
Vivaldi, Antonio
Concerto in G Major, op. 3, no. 3, RV 310 BAR; PET
u 1st movement (arr. Kathleen Wood FHM)
Concerto in A Minor, op. 3, no. 6, RV 356/F I:176 PET; (in
Suzuki Violin School, Revised Edition, 4 ALF; BAR)
l 1st or 3rd movement
Grade 6 40
List B Bohm, Carl
l Perpetuo mobile, from Little Suite No. 6 FIS; (in Solos
Sonatas and Sonatinas for Young Violinists, 3 ALF; in Suzuki Violin School,
Handel, George Frideric l Sarabande in G Minor (in Solos for Young Violinists, 2
Sonata no. 3 in F Major, HWV 370 BAR; HEN; PET (in ALF)
Suzuki Violin School, 6 ALF)
Borowski, Felix
l two contrasting movements
u Adoration PRE
Martinů, Bohuslav
Bridge, Frank
Sonatina BAR
Three Pieces for Violin and Piano FAB
u 2nd and 3rd movements
u Berceuse (no. 1)
Pepusch, Johann Christoph
Coulthard, Jean
6 Sonate da camera (transc. Walter Kolneder OTT)
l Rustic Dance, from Little French Suite (in The Encore
Sonata No. 1 in B Minor
Series for Violin & Piano, 6 FHM)
Sonata No. 4 in D Minor Coutts, George
u 1st and 2nd movements u Hornpipe FHM
l 3rd and 4th movements
Cui, César
Sonata No. 6 in F Minor
Kaleidoscope, op. 50 SIM
l 1st and 4th movements
l Musette (no. 3)
Donkin, Christine
Six Sonatas (1715) OTT
Fall Fair FHM
Sonata No. 1 in G Minor, TWV 41:g1
u Catch Me if You Can!
Sonata No. 2 in D Major, TWV 41:D1 Donizetti, Gaetano
l two contrasting movements l Non giova il sospirar (arr. Charles-Auguste de Bériot,
Sonata No. 3 in B Minor, TWV 41:h1 in Romantic Violinist B&H)
l 3rd movement: Andante and 4th movement: Vivace
Drdla, František
Sonata No. 4 in G Major, TWV 41:G1
l Tarantella, op. 27, no. 2 BOS
Sonata No. 6 in A Major, TWV 41:A1 Ethridge, Jean
l two contrasting movements l Rondo brillante (in The Encore Series for Violin &
Piano, 4 FHM)
Veracini, Francesco
Twelve Sonatas for Recorder (Flute/Violin) and Basso Continuo 2 Fauré, Gabriel
Sonata No. 6 in A Minor l Berceuse, op. 16 (in The Violin Collection: Intermediate
l 1st movement: Largo and 3rd movement: Allegro SCH)
Willan, Healey Fleming, Robert
Sonata No. 2 in E Major CMC l Something for Margot CMC
l Largo and Courante
Gossec, François-Joseph
l Tambourin (arr. Sheila Nelson, in Classical Violinist
List C B&H)
Concert Repertoire Grainger, Percy
l Molly on the Shore MAS
Adaskin, Murray Kreisler, Fritz
u Daydreams CMC u Andantino in the Style of Martini FIS
Arnold, Malcolm l Chanson Louis XIII et Pavane
Four Scottish Dances, op. 59 Four Pieces for Violin and Piano FIS; MAS
l Scottish Dance No. 3 (arr. David Gedge, in The Violin: l Aucassin und Nicolette
A Collection CHS) Massenet, Jules
Baxter, Timothy u Invocation (Mélodie) from Les Erinnyes
l Jota (in The Well-Tuned Fiddle, Book II ABR) Perlman, George
Bennett, Richard Rodney Israeli Concertino B&H
Six Country Dances l Nocturne
l Buskin (no. 2) (in The Violin: A Collection CHS)
41 Grade 6
Piazzolla, Astor Technical Requirements
u Duo 1 (arr. Hywel Davies LIM)
Please see “Technical Requirements” on p. 11 for
Pishny-Floyd, Monte Keene important information regarding this section of the
l Gavotte and Musette CMC examination.
Rameau, Jean-Philippe
l Gavotte (in Suzuki Violin School, 6 ALF) Etudes
Reger, Max Candidates must prepare two technically contrasting
l Romance BRH etudes from the following list.
Rieding, Oskar Bullets used to denote selections for examination
l Petite Ballade BOS purposes:
Szelényi, István l one selection
Twenty-four Easy Little Concert Pieces u selection is found in Violin Series, 2013 Edition: Violin
u Youngsters’ Dance (no. 19) EMB; ABR Technique and Etudes 5–8 FHM
Cohen, Mary
Technique Takes Off!, FAB
l Skater’s Waltz (no. 11)
Dezaire, Nico
Violin Positions 4 & 5 DHM
l The Hunter
l Rock ’n’ Roll
Kreutzer, Rodolphe
Quarante-deux études ou caprices INT
u Étude No. 4 in C Major
u Étude No. 2 in C Major
SCH; FIS
l no. 14 or no. 17
Mazas, Jacques-Féréol
Études mélodiques et progressives, op. 36, book 1: Études
spéciales SCH; INT
u Étude spéciale (no. 3: Fermeté d’archet)
l one of nos. 2, 5, 6, 10
Panofka, Heinrich
l no. 38 (in Studies in Lyricism for Violin FIS)
Trott, Josephine
l one of nos. 17, 19–30
u Melodious Double Stops No. 1
l no. 9 or no. 11
Wohlfahrt, Franz
Fifty Easy Melodic Studies, op. 74, 2 FIS
u Study in D Major (no. 44)
l no. 37 or no. 42
u Study in A Minor (no. 47)
l no. 43 or no. 50
Grade 6 42
Technical Tests

Major G, A
Harmonic and 3 octaves
G, A = 100
Melodic Minor
or
Major D
Harmonic and 2 octaves
C = 100
Melodic Minor
Major D
Harmonic and 1 octave on A string
D = 88
Melodic Minor
Chromatic on B , on B 2 octaves
= 88
Arpeggios
Major G, A
3 octaves
Minor G, A = 54
Major D
2 octaves
Minor C = 54
Major D
1 octave on A string
Minor D = 88
Dominant 7th of F (starting on C),
2 octaves
Major Keys G (starting on D) = 88
Diminished 7th of C (starting on B ),
2 octaves
Minor Keys E (starting on D ) = 88
Double Stops
Major in 3rds, 6ths,
G, A
8ves
1 octave
Harmonic Minor in = 76
G, A
3rds, 6ths, 8ves
43 Grade 6
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after examiner has played it twice on the piano.

Example only
1
Intervals
the piano.
or

major 2nd
major and minor 6ths minor 6th
Chords
Candidates will be asked to identify the following chords after the examiner has played the chord once in solid (blocked)
form, close position on the piano.
Chords Position
major and minor triads root position
Playback
Candidates will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The examiner will name the key, play the tonic triad once, and play the melody twice
on the piano.

tonic, mediant, or dominant C, G, D, A, E major nine notes
Example only
Grade 6 44
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 6 may include natural
harmonics, left- and right-hand pizzicato, appoggiaturas, and double stops.

C, F, G, D, A, E major
Grade 4 repertoire 1st, 2nd, 3rd sixteen to twenty measures
A, E, D minor
Clapping

four measures
Example only
45 Grade 6
Grade 7
spiccato stroke and be able to play with a wide dynamic
List A
range. Playing should show stylistic awareness. Fluency Concertos, Airs variés, and Fantasias
and accuracy up to 7th position is expected. Vibrato
should pass from finger to finger and be used consistently Corelli, Arcangelo
to support repertoire where appropriate. l La Folia (arr. Shin’ichi Suzuki, in Suzuki Violin School,
6 ALF)
Dancla, Charles
Repertoire 50 Airs variés, op. 89 OTT; FIS; SCH
one selection from List A 15 (1.5) l Air varié on a Theme by Bellini (no. 3)
one selection from List B 20 l Air varié on a Theme by Weigl (no. 5) (in Solos for
one selection from List C 15 (1.5) Young Violinists, 3 ALF)
(The figures in parentheses for Lists A and C
indicate the marks that will be deducted for Farmer, Henry
selections that are not memorized.) u Hope Told a Flattering Tale (in Romantic Violinist
B&H)
Orchestral Excerpts 10
one excerpt from the Syllabus list Marcello, Benedetto
Concerto in D Major OTT
Technical Requirements 20
l 1st movement
Etudes: one etude from the Syllabus list 8
Technical Tests 12 Nardini, Pietro
– scales Concerto in E Minor AUG; INT
– arpeggios l 1st movement
– double stops
Perlman, George
Ear Tests 10 Israeli Concertino B&H
Clapback 2 l 3rd movement: Fantasie-Recitative
Intervals 3
Chords 2 Rieding, Oskar
Playback 3 Concerto in G Major, op. 24 BOS
l 1st movement (in Solos for Young Violinists, 2 ALF)
Sight Reading 10
Playing 7 Seitz, Friedrich
Clapping 3 Concerto No. 1 in D Major, op. 7 BOS; SCH
l 1st movement
Total possible marks (pass = 60) 100 Concerto No. 3 in G Minor, op. 12 BAR; BOS; SCH
Theory Co-requisite u 1st movement (abridged) (in Solos for Young Violinists,
Advanced Rudiments 2 ALF)
Stamitz, Anton
Repertoire Concerto in G Major HUG
l 1st movement
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination. Vivaldi, Antonio
Concerto in G Minor, op. 12, no. 1, RV 317/F I:221 OTT;
Candidates must prepare three contrasting selections by INT (in Suzuki Violin School, Revised Edition, 5 ALF)
three different composers: one from List A, one from List B, l 1st movement
and one from List C.

purposes:
l one selection
Repertoire 7 FHM
Grade 7 46
List B Weber, Carl Maria von
Six sonates progressives pour le pianoforte avec violin obligé,
Sonatas and Sonatinas op. 10b HEN
Sonata No. 1 in F Major
Anonymous l two contrasting movements
Sonata in D Minor (arr. Hugh J. McLean, in Musica da Sonata No. 3 in D Major
Camera, no. 103 OUP) l 1st and 2nd movements
l 1st movement: Preludio and 7th movement: Giga Sonata No. 6 in C Major
u 2nd movement: Fugato or 3rd movement: Allemanda l 1st and 3rd movements
(arr. Kathleen Wood)
Bach, Johann Christian List C
Sonata in D Major, op. 16, no. 1 ZIM Concert Repertoire
u 1st movement: Allegro assai and 2nd movement:
Andante grazioso
Barnes, Milton
Benda, František Three Folk Dances CMC
Sonata in A Minor l Folk Dance No. 3
l Tempo di Minuetto (in Classical Violinist B&H)
Bartók, Béla
Corelli, Arcangelo l Evening in the Country, from Ten Easy Pieces (transc.
12 Sonate, op. 5 BAR; OTT Tibor Fülep EMB)
Sonata No. 1 in D Major
l 4th movement: Adagio and 5th movement: Allegro Bohm, Carl
Sonata No. 3 in C Major Arabesken
l 1st movement: Adagio and 2nd movement: Allegro u Introduction and Polonaise (no. 12) FIS (in Solos for
Sonata No. 4 in F Major Young Violinists, 2 ALF)
l 1st movement: Adagio and 2nd movement: Allegro Bridge, Frank
Sonata No. 5 in G Minor Three Pieces for Violin and Piano FAB
l 3rd movement: Adagio and 4th movement: Vivace u Cradle Song (no. 3)
Eccles, Henry l Serenade (no. 2)
Sonata in G Minor INT (in Suzuki Violin School, 8 ALF) Copland, Aaron
l two contrasting movements Old American Songs, 2
Handel, George Frideric l Ching-a-Ring Chaw (Minstrel Song) (in Copland for
Sonata No. 2 in G Minor, HWV 368 BAR; HEN; PET Violin B&H)
l 1st and 2nd movements l The Little Horses (Lullaby) (in Copland for Violin
l 1st and 4th movements B&H)
Sonata No. 4 in D Major, HWV 371 BAR; HEN; PET (in Cui, César
Suzuki Violin School, 6 ALF) Kaleidoscope, op. 50 SIM
l two contrasting movements l Perpetuum mobile (no. 12)
Sonata No. 6 in E Major, HWV 373 BAR; HEN; PET u Scherzetto (no. 22)
Elgar, Edward
Mendelssohn, Felix l Chanson du matin NOV
Sonata in F Major (1820) BAR u Chanson de nuit NOV
u 1st movement: Allegro
Fiocco, Joseph Hector
Mozart, Wolfgang Amadeus l Allegro (in G Major) BAR; INT; OTT (in Suzuki Violin
Sonata in E Minor, K 304 BAR; HEN School, 6 ALF)
l 1st movement
Fleming, Robert
Schubert, Franz l Recollections CMC
Sonatina in D Major, op. posth. 137, no. 1, D 384
BAR; HEN Gluck, Christoph Willibald
l two contrasting movements l Mélodie (Dance of the Blessed Spirits), from Orfeo ed
Euridice (arr. Fritz Kreisler OTT and in Solos for Young
Vivaldi, Antonio Violinists, 4 ALF)
Sonata in F Major, op. 2, no. 4, RV 20/F XIII:32
l 1st and 2nd movements Gratton, Hector
l Première Danse Canadienne CMC
47 Grade 7
Heuberger, Richard Valdez, Charles Robert
l Midnight Bells, from Der Opernball, op. 40 (arr. Fritz l Sérénade du tzigane (Gypsy Serenade) (arr. Fritz
Kreisler, in The Fritz Kreisler Collection, 2 FIS; Music Kreisler in Favourite Encore Folio FIS)
from the Romantic Era BOS)
Järnefelt, Armas l Fantasia on Greensleeves, from Sir John in Love (arr.
u Berceuse CHS Michael Mullinar OUP)
Kreisler, Fritz Veracini, Francesco Maria
l Liebesleid FIS Sonata in D Minor
l Menuet in the Style of Porpora OTT l Gigue (in Suzuki Violin School, Revised Edition, 5 ALF)
l Rondino on a Theme by Beethoven FIS (in Solos for
Wachs, Paul
Young Violinists, 4 ALF)
u Air de Ballet (in The Violinist’s Contest Album FIS)
u Syncopation OTT (in The Fritz Kreisler Collection, 2
FIS) Weber, Carl Maria von
l Tempo di Minuetto in the Style of Pugnani OTT (in l Country Dance (in Suzuki Violin School, Revised
Solos for Young Violinists, 3 ALF) Edition, 5 ALF)
Mascagni, Pietro Wieniawski, Henryk
l Intermezzo sinfonico, from Cavalleria rusticana l Kujawiak (Mazurka) (COM)
(arr. FIS; SCH)
Młynarski, Emil
l Mazurka (arr. Barbara Barber, in Solos for Young Orchestral Excerpts
Violinists, 3 ALF)
Candidates should be prepared to play the first violin
Mondonville, Jean-Joseph Cassanéa de part of one excerpt from the following list. Candidates
Sonata No. 3 in G Major (in Solos for the Violin Player SCH) are encouraged to listen to and become familiar with
l 4th movement: Tambourin the works from which these excerpts are taken. The
Moszkowski, Moritz candidate’s ability to perform excerpts in a manner that
Spanische Tänze, op. 12, PET demonstrates an understanding of the style and context
u Spanischer Tänz No. 1 is an important examination criterion. For instructions
regarding the performance of chords, please see p. 11.
Paradis, Maria Theresia von
l Sicilienne OTT (in Solos for Young Violinists, 6 ALF) • All orchestral excerpts are included in Violin Series, 2013
Piazzolla, Astor Edition: Orchestral Excerpts FHM.
u Ausencias (arr. Hywel Davies LIM) • Alternatively, candidates may use standard published
orchestral parts for the specific excerpts. The list below
Polson, Arthur includes measure numbers for reference.
l A Dream CMC
Potstock, William H. Each bulleted item (u) represents one selection for
l Souvenir de Sarasate FIS (in Solos for Young Violinists, examination purposes.
3 ALF)
Raff, Joachim Beethoven, Ludwig van
Six Morceaux, op. 85 Symphony No. 5 in C Minor, op. 67
l Cavatina (no. 3) EMB u 2nd movement: mm. 15–48, 77–86, 106–114
Ravel, Maurice Bizet, George
l Pavane pour une infante défunte OTT Carmen Suite No. 1
u Les Toréadors (no. 5): mm. 1–101 (first eighth note)
Severn, Edmund
l Polish Dance FIS (in Solos for Young Violinists, 4 ALF) Elgar, Edward
Serenade for String Orchestra, op. 20
Sheng, Bright u 1st movement: mm. 92–137 and 2nd movement:
Three Fantasies for Violin and Piano SCH mm. 1–32
l Dream Song (no. 1)
Handel, George Frideric
Shostakovich, Dmitri Messiah, HWV 56
l Spring Waltz, op. 27, no. 6 (arr. Konstantin u Overture (“Symphony”): complete (mm. 1–97)
Fortunatov in Shostakovich: Albumstücke PET)
Toselli, Enrico
l Serenade, op. 6 (arr. Fredric Fradkin BMC)
Grade 7 48
Haydn, Franz Joseph Technical Requirements
String Quartet in C Major (“The Bird”), Hob. III:39
u 1st movement: mm. 1–59 Please see “Technical Requirements” on p. 11 for
Symphony No. 49 in F Minor (“La passione”), Hob. I:49 important information regarding this section of the
u 2nd movement: mm. 1–51 examination.
Mendelssohn, Felix
String Quartet in E flat Major, op. 12
Etudes
u 2nd movement (Canzonetta): mm. 1– 49 Candidates must prepare one etude from the following list.
Mozart, Wolfgang Amadeus Bullets used to denote selections for examination
Symphony No. 29 in A Major, K 201 purposes:
u 1st movement: mm. 1–77 (beat 2) l one selection
Technique and Etudes 5–8 FHM
Barlowe, Amy
Twelve Etude-Caprices in the Styles of the Great Composers
ALF
u In the Style of Beethoven (no. 6)
Cohen, Mary
Technique Flies High! FAB
u Wild Fire
Dont, Jacob
Twenty-four Exercises, op. 37 INT; SCH
l one of nos. 1–7
SCH; FIS
l no. 33
Kreutzer, Rodolphe
u Étude No. 11 in E Major
l one of nos. 7–9, 13
spéciales SCH; INT
u Division of the Bow in the Cantilena (no. 8)
u The Mordant (no. 15)
l one of nos. 9, 17, 21, 28
Polo, Enrico
30 Studi a Corde Doppie RIC
l no. 10
Trott, Josephine
u Melodious Double Stops (no. 17)
l no. 14 or no. 16
49 Grade 7
Technical Tests

Major A,B,C
Harmonic and Melodic Minor 3 octaves = 120
G,B,C
Major Artificial Harmonics
G 1 octave = 80
Chromatic
on C, on D 2 octaves = 108
Arpeggios
Major A,B,C
3 octaves = 72
Minor G,B,C
Dominant 7th of Major Keys D (starting on A),
3 octaves = 100
E (starting on B )
Diminished 7th of Minor Keys B (starting on A ), 3 octaves = 100
B (starting on A )
Double Stops
Major in 3rds, 6ths, and 8ves
B,C
Harmonic Minor in 3rds, 6ths, and 1 octave = 92
8ves B,C
Ear Tests
Clapback
piano.

four measures
Example only
1
Grade 7 50
Intervals
the piano.
or

major and minor 2nds
major 7th
Chords
Chords Position
dominant 7th root position
Playback
Candidates will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The examiner will name the key, play the tonic triad once, and play the melody twice
on the piano.

tonic, mediant, dominant, or upper tonic C, G, D, A, E major nine notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 7 may include trills, grace
notes, triple stops, and spiccato.

C, F, B , G, D, A major
Grade 5 repertoire 1st to 4th sixteen to twenty measures
A, D, E, B minor
51 Grade 7
Clapping

four measures
Example only
Grade 7 52
Grade 8
Candidates in Grade 8 should have well developed Please note that cadenzas are required where indicated.
spiccato, sautillé, and ricochet strokes. Playing should show Unless otherwise noted, any cadenza is acceptable, as long
stylistic awareness. Fluency and accuracy up to 7th as the examiner is provided with an original copy of the
position are expected. Vibrato should pass from finger music, and it is equivalent in difficulty to the standard
to finger and be used consistently to support repertoire cadenza for that work.
where appropriate.
List A
Grade 8 Requirements Marks Concertos, Airs variés, and Fantasias
Repertoire 50
one selection from List A 15 (1.5) Accolay, Jean-Baptiste
one selection from List B 15 l Concerto in A Minor, op. 12 BAR; FIS; INT (in Solos
one selection from List C 10 (1) for Young Violinists, 3 ALF)
one selection from List D 10 (1)
(The figures in parentheses for Lists A, C, and Bach, Johann Sebastian
D indicate the marks that will be deducted for Concerto in A Minor, BWV 1041 BAR; INT (in Suzuki
selections that are not memorized.) Violin School, 7 ALF)
l 1st movement
two contrasting excerpts from the Syllabus list Benda, Johann
Technical Requirements 20 Concerto in G major (arr. Samuel Dushkin OTT)
l 1st movement
Etudes: one etude from the Syllabus list 8
Technical Tests 12 Dancla, Charles
– scales Airs variés, op. 118 FIS
– arpeggios l I Montecchi e I Capuletti (no. 1)
– double stops l Norma (no. 3)
Ear Tests 10 l La Somnambula (no. 4)
Intervals 3 u La Straniera (no. 2)
Chords 2 Bériot, Charles-Auguste de
Cadences 2 Concerto in B Minor, op. 32 PET
Playback 3 l 1st movement
Sight Reading 10 l 3rd movement: Rondo Russe
Playing 7 Haydn, Franz Joseph
Clapping 3 Concerto in G Major, Hob. VIIa:4 (ed. Ferdinand Küchler
Total possible marks (pass = 60) 100 HEN)
Theory Co-requisites u 1st movement (with cadenza by Franz Beyer)
Advanced Rudiments → begin at m. 20
Introductory Harmony (recommended) Komarowski, Anatoli
Concerto No. 1 in E Minor PET
u 1st movement (with cadenza)
Repertoire
Seitz, Friedrich
Candidates must prepare four contrasting selections: one Concerto No. 4 in D Major, op. 15 BOS; SCH
from List A, one from List B, one from List C, and one from l 1st movement
List D. Candidates are encouraged to select repertoire in a
variety of keys and tempos, with no more than two works
from the same era (for example, only two selections from List B
the Baroque era). Sonatas and Sonatinas
Bullets used to denote selections for examination Adaskin, Murray
purposes: Sonata No. 1 (for solo violin) CMC
l one selection l 1st movement: Andante)
u selection is found in Violin Series, 2013 Edition: Violin l 2nd movement: Adagio
Repertoire 8 FHM
Albinoni, Tomaso
Sonata in D Major, op. 6, no. 7 EMA
53 Grade 8
Sonata in G Minor, op. 6, no. 2 OTT; EMA List C
l 1st and 2nd movements
Concert Repertoire
Bartók, Béla
Sonatina (transc. André Gertler EMB)
Boulanger, Lili
l 1st movement: Bagpipers and 2nd movement: Bear
Deux Morceaux SCH (in Violinmusik von Komponistinnen
Dance
OTT)
Corelli, Arcangelo l Cortège (no. 2)
12 Sonate, op. 5 BAR; OTT l Nocturne (no. 1)
Sonata No. 6 in A Major
Champagne, Claude
l 1st movement: Grave and 5th movement: Allegro
l Danse villageoise BER; CMC
Dvořák, Antonín
d’Ambrosio, Alfredo
Sonatina in G Major, op. 100 BAR; FIS
l Canzonetta (in Romantic Violinist B&H)
l 1st movement: Allegro risoluto and 2nd movement:
Larghetto Daquin, Lous-Claude
u 2nd movement: Larghetto and 3rd movement: Molto l Le coucou from Premier livre de pièces de clavecin (arr.
vivace Györgyi Répássy EMB)
Elsner, Józef Debussy, Claude
Sonata in F Major, op. 10, no. 1 PWM l La fille aux cheveux de lin (transc. Arthur Hartmann
u 1st movement: Allegro DUR)
Handel, George Frideric Elgar, Edward
Sonata No. 1 in A Major, HWV 361 BAR; HEN; PET (in l Salut D’Amour OTT
Suzuki Violin School, 7 ALF)
Glazunov, Aleksandr
u Albumblatt (transc. Jean-François Gonzales MPB)
Sonata No. 5 in A Major, HWV 372 BAR; HEN; PET Have, Willem ten
l 1st and 2nd movements u Allegro brillant, op. 19 FIS
Healey, Derek E.
Mozart, Wolfgang Amadeus Six Epigrams CMC
Sonata in G Major, K 293a (301) BAR; HEN l nos. 2, 5, and 6
l 1st or 2nd movement
Korngold, Erich Wolfgang
Schubert, Franz l Gartenszene from Viel Lärmen um nichts, op. 11 (in
Sonatina in G Minor, op. posth. 137, no. 3, D 408 Vier Stücke OTT)
BAR; HEN
l 1st and 2nd movements Kreisler, Fritz
l La gitana FIS
Tartini, Giuseppe l Liebesfreud FIS
12 Sonate e una pastorale, op. 1 u Schön Rosmarin FIS
Sonata No. 1 in A Major, BA14 MAS l Sicilienne and Rigaudon in the Style of Francoeur
l 1st movement: Grave and 3rd movement: Presto FIS; OTT (in Solos for Young Violinists, 5 ALF)
Sonata No. 4 in G Major, BG17 PET; KAL
l 1st movement: Grave and 2nd movement: Fuga Kulesha, Gary
12 Sonate, op. 2 ZAN Song and Dance
Sonata No. 1 in D Major, BD13 u Dance CMC
l 3rd movement: Affettuoso and 4th movement: Levkovich, Alexander
Allegro assai l Lullaby CMC
Sonata No. 2 in G Major, BG18
l 1st movement: Andante affettuoso and 3rd Martinů, Bohuslav
movement: Allegro Intermezzo BAR
Sonata No. 6 in C Major, BC12 l Andante (no. 3)
l 1st movement: Largo andante and 3rd movement: l Poco allegro (no. 4)
Presto assai Massenet, Jules
Vivaldi, Antonio l Méditation, from Thaïs PET (transc. M.P. Marsick
Sonata op. 2, no. 7 (Realizzazione di Federico Mompellio) UMP; in Solos for Young Violinists, 5 ALF)
ZAN Monti, Vittorio
l 1st movement: Preludio and 2nd movement: l Csárdás RIC; FIS; (in Solos for Young Violinists, 5 ALF;
Allemanda BAR)
Grade 8 54
Morley, Angela List D
l Rêverie for Violin and Piano NOV
Unaccompanied Repertoire
Morlock, Jocelyn
l Dervish CMC
Moszkowski, Moritz Partita No. 2 in D Minor, BWV 1004 BAR; HEN
Spanische Tänze, op. 12 PET u 4th movement: Giga
l Spanischer Tänz (no. 2) Partita No. 3 in E Major, BWV 1006 BAR; HEN
u 6th movement: Bourrée
Perrault, Michel Brunet
l 7th movement: Gigue
u Solitude BER
Ries, Franz Anton
Twelve Fantasias for Violin BAR; INT
l Perpetuum mobile, op. 34, no. 5 FIS
Fantasia No. 1 in B flat Major, TWV 40:14
Sarasate, Pablo de l 1st movement: Largo
l Playera (Spanish Dance, op. 23, no. 5) (in Romantic Fantasia No. 7 in E flat Major, TWV 40:20
Violinist B&H) u 1st movement: Dolce
l 2nd movement: Allegro
Schubert, François
Fantasia No. 8 in E Major, TWV 40:21
Bagatelles, op. 13
l 2nd movement: Spirituoso
u Die Biene (no. 9) EMB
Fantasia No. 12 in A Minor, TWV 40:25
Schumann, Robert l 1st movement: Moderato
l Vogel als Prophet, from Waldscenen, op. 82, no. 7 l 2nd movement: Vivace
(transc. Leopold Auer ZIM)
Drei Romanzen, op. 94 PET
l Romance No. 2 (arr. Fritz Kreisler OTT)
l Romance No. 3
Senaillé, Jean-Baptiste
l Les polichinelles (arr. Alfred Moffat OTT)
u Romance, from Ovod (The Gadfly), op. 97 (arr.
Konstantin Fortunatov, in Shostakovich: Albumstücke
PET)
Sibelius, Jean
Five Pieces, op. 81
l Rondino (no. 2) B&H
Smetana, Bedřich
From the Homeland (Z domoviny) BAR
u 1st movement: Moderato
Wieniawski, Henryk
Two Mazurkas, op. 19 PWM; MAS; PET
u Mazurka (Obertass) (no. 1)
l Mazurka (Le ménétrier) (no. 2) EMB
Willeke, Willem
l Chant sans paroles (arr. Fritz Kreisler in Favorite
Encore Folio FIS)
55 Grade 8
Orchestral Excerpts Technical Requirements
Candidates should be prepared to play the first violin part Please see “Technical Requirements” on p. 11 for
of two contrasting excerpts by two different composers important information regarding this section of the
from the following list. Candidates are encouraged examination.
to listen to and become familiar with the works from
which these excerpts are taken. The candidate’s ability Etudes
to perform excerpts in a manner that demonstrates an
Candidates must prepare one etude from the following list.
understanding of the style and context is an important
examination criterion. For instructions regarding the
performance of chords please see p. 11.
purposes:
• All orchestral excerpts are included in Violin Series, 2013 l one selection
Edition: Orchestral Excerpts FHM. u selection is found in Violin Series, 2013 Edition: Violin
• Alternatively, candidates may use standard published Technique and Etudes 5–8 FHM
includes measure numbers for reference. Barlowe, Amy
Twelve Etude-Caprices in the Styles of the Great Composers
Each bulleted item (u) represents one selection for
ALF
examination purposes.
u In the Style of Bach (no. 2)
Campagnoli, Bartolomeo
7 Divertimenti, op. 18 RIC; KMA
Brandenburg Concerto No. 3 in G Major, BWV 1048
Divertimento No. 2
u 3rd movement: mm. 1–18 (second eighth note),
u Polonaise and Trio
mm. 24–35 (beat 1)
Beethoven, Ludwig van
Dont, Jacob
Symphony No. 2 in D Major, op. 36
u 3rd movement: mm. 1–84 and 4th movement:
l one of nos. 8–12
mm. 1–25
Fiorillo, Federigo
Grieg, Edvard
Étude de violon formant 36 caprices, op. 3 INT; SCH
Holberg Suite, op. 40
u Caprice in B flat Major (no. 5)
u 1st movement (Prelude): mm. 1–30 and 4th
u Caprice in E flat Major (no. 6)
movement (Air): mm. 1–29
l one of nos. 3, 16, 28
Haydn, Franz Joseph
Kreutzer, Rodolphe
Symphony No. 94 in G Major (“Surprise”), Hob. I:94
u 2nd movement: mm. 1–24, 49–74, 107–114
u Étude No. 12 in A Minor
Mozart, Wolfgang Amadeus l one of nos. 10, 14–17
String Quartet in D Minor, K 421
u 1st movement: mm. 1–41 and 3rd movement:
Menuetto and Trio (complete)
spéciales SCH; INT
Symphony No. 25 in G Minor, K 183
u Étude spéciale (no. 30: Ronde Villageoise)
u 1st movement: mm. 1–12, 29–83 (beat 1)
Saint-Saëns, Camille brillantes SCH; INT
Le carnaval des animaux u Étude brillante (no. 34: Staccato)
u 14th movement (Final): mm. 53–92 l one of nos. 33, 35, 39
Polo, Enrico
30 Studi a Corde Doppie RIC
l no. 15 or no. 23
Grade 8 56
Technical Tests

Major B, D , D
3 octaves = 138
Harmonic and Melodic Minor B, C , D
A, B 1 octave = 108
Chromatic
on G, on A, on B 3 octaves = 120
Arpeggios
Major B, D , D
3 octaves = 84
Minor B, C , D
Dominant 7th of Major Keys D (starting on A ),
E (starting on B), 3 octaves = 108
F (starting on C)
Diminished 7th of Minor Keys A (starting on G ),
C (starting on B ), = 108
3 octaves
C (starting on B )
Double Stops
Major in 3rds, 6ths, 8ves G, A
Harmonic Minor in 3rds, 6ths, 8ves 2 octaves = 72
G, A
Melodic Minor in 3rds, 6ths, 8ves

G, A 1 octave = 72
57 Grade 8
Ear Tests
Intervals
the piano.
or

major and minor 2nds major 2nd
minor 7th major 7th
Chords
Chords Position
diminished 7th root position
Cadences
Candidates will be asked to identify the following cadences by name or symbols. The examiner will play the tonic chord
once, and then twice play a short phrase ending in a cadence.
Name of Cadence Symbols

perfect or authentic V–I
plagal IV–I
Example only
Grade 8 58
Playback
Candidates will be asked to play back a melody on the violin, approximately one octave in range. The examiner will
name the key, play the tonic triad once, and play the melody twice on the piano.

tonic, mediant, dominant, or upper tonic C, G, D, A, E major nine notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 8 may include chromatic
passages, mordants, and artificial harmonics.

C, F, B , G, D, A, E major
Grade 6 repertoire 1st to 5th sixteen to twenty measures
A, D, G, E, B, C minor
Clapping

four measures
Example only
59 Grade 8
Grade 9
Please note that cadenzas are required where indicated.
Candidates in Grade 9 should be able to execute all bow Unless otherwise indicated, any cadenza is acceptable, as
strokes and maintain control and security in any long as the examiner is provided with an original copy of
position. A mature, singing tone with an expressive and the music, and it is equivalent in difficulty to the standard
varied vibrato is expected. Playing should exhibit stylistic cadenza for that work.
awareness.

List A
Repertoire 50
Concertos
one selection from List A 15 (1.5)
one selection from List B 15 Bériot, Charles-Auguste de
one selection from List C 10 (1) Concerto No. 1 in D Major, op. 16 PET
one selection from List D 10 (1) l 1st movement (to first tutti)
(The figures in parentheses for Lists A, C, and Concerto No. 7 in G Major, op. 76 FIS
D indicate the marks that will be deducted for l 1st movement
selections that are not memorized.) Concerto No. 9 in A Minor, op. 104 PET
l 2nd and 3rd movements
two contrasting excerpts from the Syllabus list
Technical Requirements 20 Haydn, Franz Joseph
Etudes: one etude from the Syllabus list 8 Concerto No. 1 in C Major Hob. VIIa:1 HEN; PET
Technical Tests 12 l 1st movement (with cadenza) and 2nd movement
– scales (with cadenza)
– arpeggios Kreutzer, Rodolphe
– double stops Concerto No. 13 in D Major FIS
Ear Tests 10 l 1st and 2nd movements
Intervals 3 Mozart, Wolfgang Amadeus
Chords 2 Concerto in B flat Major, K 207 BAR; PET; INT
Cadences 2 l 1st movement (with cadenza) and 2nd movement
Playback 3 (with cadenza)
Sight Reading 10 Concerto in D Major, K 211 BAR; PET; INT
Playing 7 l 1st movement (with cadenza) and 2nd movement
Clapping 3 (with cadenza)
Total possible marks (pass = 60) 100 Concerto in G Major, K 216 BAR; PET; INT
l 1st movement (with cadenza) and 2nd movement
Theory Co-requisites (with cadenza)
Advanced Rudiments
Basic Harmony or Basic Keyboard Harmony Rieding, Oskar
History 1: An Overview Concerto in D Major, op. 5 BUT
l complete
Concerto in E Minor, op. 7 BOS
Repertoire l complete
Please see “Examination Repertoire” on p. 9 for important Rode, Pierre
information regarding this section of the examination. l Air varié (in Classical Violinist B&H)
Candidates must prepare four contrasting selections: one Concerto No. 7 in A Minor, op. 9 SCH; INT
from List A, one from List B, one from List C, and one from
l 2nd and 3rd movement
variety of keys and tempos, with no more than two works Concerto No. 8 in E Minor, op. 13 SCH; PET
from the same era (for example, only two selections from
the Baroque era). Viotti, Giovanni Battista
Concerto No. 23 in G Major PET
Each bulleted item (l) represents one selection for
(with cadenza)
Grade 9 60
Vivaldi, Antonio Tartini, Giuseppe
Il cimento dell’armonia e dell’inventione, op. 8 BAR Sonata in G Minor (“Didone Abbandonata”), op. 1, no. 10,
l Concerto No. 1 in E Major (La primavera), RV 269 Bg10 OTT; RIC
l Concerto No. 2 in G Minor (L’estate), RV 315 l 1st and 2nd movements
l Concerto No. 3 in F Major (L’autunno), RV 293
Veracini, Francesco Maria
l Concerto No. 4 in F Minor (L’inverno), RV 297
Sonata in E Minor, op. 2, no. 8 INT; RIC (in Suzuki Violin
School, 8 ALF)
List B l 1st and 2nd movements
Sonatas and Sonatinas Vivaldi, Antonio
Sonata in D Major, RV 10/F XII: 6 (transc. Ottorino
Adaskin, Murray Respighi RIC)
Sonatine baroque for solo violin RIC; CMC l two contrasting movements
l 3rd movement Willan, Healey
Beethoven, Ludwig van Sonata No. 1 in E Minor BER; CMC
Sonata in D Major, op. 12, no. 1 HEN l 1st movement
l 1st movement
Sonata in A Major, op. 12, no. 2 HEN List C
l 1st movement
Sonata in F Major (“Spring”), op. 24 HEN
Concert Repertoire
l 1st movement
Achron, Joseph
Elsner, Józef
l Hebrew Melody, op. 33 FIS
Sonata in F Major, op. 10, no. 1 PWM
l 2nd and 3rd movements Albeniz, Isaac
l Malagueña (arr. Fritz Kreisler FIS) MAS
Girón, Arsenio
l Mallorca, from Three Spanish Dances MAS
Sonata IV for Violin and Piano CMC
l Tango in D Major, op. 165, no. 2 INT (arr. Samuel
l complete
Dushkin OTT)
Hindemith, Paul
Bacewicz, Grażyna
Sonata in E flat Major, op. 11, no. 1 OTT
l Humoreska (in Violinmusik von Komponistinnen OTT)
l 1st movement
l Polish Caprice for Violin Solo PWM
Leclair, Jean Marie
Barber, Samuel
Sonata in D Major, op. 9 SCH
l Canzone, op. 38 (in Samuel Barber: Music for Violin
and Piano SCH)
McIntyre David
Sonata No. 1 for Violin and Piano (1993) CMC
l Romance in F Major, op. 50 BAR; SCH
Bridge, Frank
Mozart, Wolfgang Amadeus
l Moto Perpetuo B&H
Sonata in C Major, K 296 BAR; HEN
l 1st movement Brahms, Johannes
Sonata in F Major, K 374d (376) BAR: HEN l Hungarian Dance No. 5 from Hungarian Dances WoO
l 1st movement 1 (arr. Joseph Joachim FIS)
Sonata in F Major, K 374e (377) BAR; HEN
Bruch, Max
l 1st movement
l Kol Nidre, op. 47 FIS
Sonata in F Major, K376 BAR; HEN
l 3rd movement Copland, Aaron
l Vieux Poème (Old Poem) (in Copland for Violin B&H)
Paganini, Nicolo
l Sonata in E Minor, op. 3, no. 12 INT Debussy, Claude
l La plus que lent (arr. Leon Rocques DUR)
Schubert, Franz
Sonatina in A Minor, op. posth. 137, no. 2, D 385
BAR; HEN
61 Grade 9
Dvořák, Antonín List D
l Slavonic Dance No. 1 in G Minor, arr. from op. 46,
no. 2 and op. 72, no. 1 (arr. Fritz Kreisler, in The
Unaccompanied Repertoire of Johann
Fritz Kreisler Collection, 2 FIS) Sebastian Bach
l Slavonic Dance No. 3 in G Major, from op. 72, no.
8 (arr. Fritz Kreisler in The Fritz Kreisler Collection, 2 Bach, Johann Sebastian
FIS) Partita No. 1 in B Minor, BWV 1002 BAR; HEN
Romantic Pieces, op. 75 BAR; HEN l Courante
l two pieces Partita No. 2 in D Minor, BWV 1004 BAR; HEN
Eckhardt-Gramatté, Sophie-Carmen l Allemande
Ten Caprices CMC l Corrente
l Caprice No. 1 l Sarabanda
Partita No. 3 in E Major, BWV 1006 BAR; HEN
Godowsky, Leopold l Gavotte en rondeau
l Alt-Wien, from Triakontameron (arr. Jascha Heifetz l Loure
FIS) Sonata No. 1 in G Minor, BWV 1001 BAR; HEN
Gratton, Hector l Siciliana
l Quatrième danse canadienne BER; CMC Sonata No. 3 in C Major, BWV 1005 BAR; HEN
l Allegro assai
Holt, Patricia Blomfield
Suite No. 2 BER; CMC
l two contrasting movements Orchestral Excerpts
Hubay, Jenö Candidates should be prepared to play the first violin part
l Hejre Kati (Scènes de la Csárda no. 4), op. 32 SCH; of two contrasting excerpts by two different composers
FIS from the following list. Candidates are encouraged
Kreisler, Fritz
which these excerpts are taken. The candidate’s ability
l Romance, op. 4 MAS
Moszkowski, Moritz understanding of the style and context is an important
Spanische Tänze, op. 12 examination criterion. For instructions regarding the
l Spanischer Tänz (no. 5) performance of chords please see p. 11.
• All orchestral excerpts are included in Violin Series, 2013
l Rondo in C Major, K 373 BAR; INT
Edition: Orchestral Excerpts FHM.
Rachmaninoff, Sergei • Alternatively, candidates may use standard published
l Vocalise, op. 34, no. 14 INT (in Solos for Young orchestral parts for the specific excerpts. The list below
Violinists, 6 ALF) includes measure numbers for reference.
Sarasate, Pablo de
Each bulleted item (u) represents one selection for
l Malagueña (Danse espagnole, op. 21, no. 1) INT
Nine Preludes, op. 34
l two contrasting nos. 1, 2, 5, 6, 8, 9
String Quartet No. 4 in C Minor, op. 18
Stravinsky, Igor u 4th movement: pickup to mm. 41–86
l Ballad, from The Fairy’s Kiss B&H Symphony No. 1 in C Major, op. 21
u 3rd movement: mm. 1–103 and 4th movement: mm.
Suk, Joseph
1–47 (first sixteenth note)
Four Pieces, op. 17 ALF; SIM
l one piece Britten, Benjamin
The Young Person’s Guide to the Orchestra: Variations and
Svendsen, Johan
Fugue on a Theme of Henry Purcell, op. 34
l Romance, op. 26 PET; FIS
u Variation M: mm. 1–54
Dvořák, Antonín
l Mélodie, op. 42, no. 3 FIS; INT
Serenade for Strings in E Major, op. 22
u 2nd movement: pickup to mm. 1–46, pickup to mm.
80–158
Grade 9 62
Haydn, Franz Joseph Campagnoli, Bartolomeo
Symphony No. 104 in D Major, Hob. I:104 (“London”) 7 Divertimenti, op. 18 RIC; KMA
u 1st movement: mm. 17–64 and 2nd movement: Divertimento No. 1
mm. 1–8, 42–56 l Siciliano
l Menuetto and Trio
Divertimento No. 3
Symphony No. 40 in G Minor, K 550
l Allemande
u 1st movement: mm. 1–42 and 4th movement:
mm. 1–48 Dont, Jacob
Rossini, Gioachino
La gazza ladra
u Overture: pickup to mm. 4–11, pickup to Dancla, Charles
mm. 42–49, 62–114 20 Études brillantes et caractéristiques, op. 73 EMB
l no. 4 or no. 8
Technical Requirements Fiorillo, Federigo

36 Etudes or Caprices INT; SCH
Please see “Technical Requirements” on p. 11 for l one of nos. 7, 21, 22, 31
examination. Kreutzer, Rodolphe
Etudes l one of nos. 18–26
Candidates must prepare one etude from the following Rode, Pierre
list. Each bulleted item (l) represents one selection for 24 Caprices FIS; INT
examination purposes. l one of nos. 1–3, 5, 8, 10
Technical Tests
Candidates must play all scales, arpeggios, and double stops from memory.

Major E , E, F
E , E, F
|
œ |œ
G, A 2 octaves = 84
Chromatic
on B, on C, on D 3 octaves = 72
Arpeggios
Major E , E, F
3 octaves = 92
Minor E , E, F
Dominant 7th of Major Keys G (starting on D ),
G (starting on D), 3 octaves = 60
A (starting on E )
Diminished 7th of Minor Keys D (starting on C ),
E (starting on D ), 3 octaves = 60
E (starting on D )
Double Stops
Major in 3rds, 6ths, 8ves B,C
B,C
in 3rds, 6ths, 8ves
63 Grade 9
Ear Tests
Intervals
the piano.
or

any interval within the octave any interval within the octave except the
augmented 4th/diminished 5th
Chords
Candidates will be asked to identify the following chords and their inversion or position after the examiner has played
the chord once in solid (blocked) form, close position on the piano.
Chords Position
major and minor triads root position, 1st inversion
Cadences
Candidates will be asked to identify the following cadences by name or symbols. The examiner will play the tonic chord
once, and then twice play a short phrase ending in a cadence.

perfect or authentic V–I
plagal IV–I
imperfect I–V
Example only
Playback
Candidates will be asked to play back the upper part of a two-part phrase on the violin. The examiner will name the key,
play the tonic triad once, and play the phrase twice on the piano.

tonic, mediant, dominant, or upper tonic any major key two or three measures
Example only
Grade 9 64
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 9 may include turns, thirty-
second notes, and restez position indications.

Grade 7 C, F, B , E , G, D, A, E major sixteen to twenty
1st to 6th
repertoire A, D, G, E, B, C minor measures
Clapping

four to six measures
Example only
65 Grade 9
Grade 10
Candidates in Grade 10 should be able to execute all bow Please see “Co-requisites and Prerequisites” on p. 8,
strokes and maintain control and security in any position. “Classification of Marks” on p. 81, and “Supplemental
Intonation should be precise. Tone should be mature and Examinations” on p. 83 for important details regarding
soloistic, with an expressive and varied vibrato. Playing Grade 10 standing for an ARCT examination application.
should be sophisticated, nuanced, and stylistically aware.
Grade 10 candidates who wish to pursue an ARCT in Repertoire

Violin Performance or a Teacher’s ARCT must achieve
either an overall mark of 75 or a minimum of 70 percent Please see “Examination Repertoire” on p. 9 for important
in each section of the Grade 10 examination. Figures in information regarding this section of the examination.
bold parentheses indicate the minimum number of marks
required to receive the equivalent of 70 percent. Candidates must prepare four contrasting selections: one
from List A, one from List B, one from List C, and one from
Grade 10 Requirements Marks variety of keys and tempos, with no more than two works
Repertoire 50 (35) from the same era (for example, only two selections from
one selection from List A 15 (1.5) the Baroque era).
one selection from List C 10 (1) Each bulleted item (l) represents one selection for
one selection from List D 10 (1) examination purposes.
(The figures in parentheses for Lists A,
C, and D indicate the marks that will Please note that cadenzas are required where indicated.
be deducted for selections that are not Unless otherwise indicated, any cadenza is acceptable, as
memorized.) long as the examiner is provided with an original copy of
Orchestral Excerpts 10 (7) the music, and it is equivalent in difficulty to the standard
two contrasting excerpts from the cadenza for that work.
Syllabus list
Technical Requirements 20 (14) List A
Etudes: one etude from the Syllabus list 8 Concertos
Technical Tests 12
– scales
– arpeggios Barber, Samuel
– double stops Concerto, op. 14 SCH
Ear Tests 10 (7)
Intervals 2 Bruch, Max
Chords 2 Concerto in G Minor, op. 26 PET; SCH; INT
Cadences 3 l 1st and 2nd movements
Playback 3 l 2nd and 3rd movements
Sight Reading 10 (7) Kabalevsky, Dmitri

Playing 7 Concerto in C Major, op. 48 INT
Clapping 3 l 1st and 2nd movements
l 2nd movement and 3rd movement (complete)
Total possible marks (pass = 60) 100
Theory Co-requisites Khachaturian, Aram
Advanced Rudiments Concerto in D Minor B&H
Intermediate Harmony or Intermediate l 1st and 2nd movements
Keyboard Harmony l 2nd and 3rd movements
History 1: An Overview Lalo, Edouard
History 2: Middle Ages to Classical Symphonie espagnole, op. 21 SCH
Grade 10 66
Mozart, Wolfgang Amadeus Prokofiev, Sergei
Concerto in D Major, K 218 BAR; INT Sonata, op. 115 PET
l 1st movement (with cadenza) and 2nd movement l 1st and 2nd movements
(with cadenza) l 2nd and 3rd movements
Spohr, Louis Schubert, Franz
Concerto No. 2 in D Minor, op. 2 PET Sonata in A Major, op. posth. 162, D 574 BAR; HEN; OTT
l 1st and 2nd movements l 1st and 2nd movements
Concerto No. 9 in D Minor, op. 55 PET
Schumann, Robert
Sonata in A Minor, op. 105, no. 1 PET
Viotti, Giovanni Battista l 1st and 2nd movements
Concerto No. 22 in A Minor SCH
Vallerand, Jean
Sonata (1950) DOM; CMC
(with cadenza)
List B List C
Sonatas Concert Repertoire
Anonymous
Sonata in A Minor, op. 23 HEN
l Ciaccona in G Minor (attr. Tomaso Antonio Vitali)
(ed. Diethard Hellmann BAR; arr. Léopold Charlier
Sonata in A Major, op. 30, no. 1 HEN
FIS; arr. Leopold Auer FIS)
Sonata in G Major, op. 30, no. 3 HEN Adaskin, Murray
l 1st and 2nd movements l Canzona and Rondo CMC
Sonata in G Major, op. 96 HEN
Archer, Violet
l Prelude and Allegro BER; CMC
Brahms, Johannes
Baker, Michael Conway
Sonata in A Major, op. 100 HEN; INT
l The Flight of Aphrodite, op. 99 CMC
Sonata in G Major, op. 78 HEN; INT Bartók, Béla
l 1st and 2nd movements l Hungarian Folk Songs (transc. Tivadar Országh
EMB)
Buczynski, Walter
l Roumanian Folk Dances UNI (in Solos for Young
Sonata (1979) CMC
Violinists, 6 ALF)
l complete
Bax, Arnold
Girón, Arsenio
l Legend MAS
Sonata breve CMC
l 1st and 2nd movements Beethoven, Ludwig van
l 3rd and 4th movements l Romance in G Major, op. 40 BAR; HEN
Grieg, Edvard Bériot, Charles-Auguste de
Sonata in F Major, op. 8, no. 1 PET; SCH l Scène de Ballet, op. 100 SCH; FIS
Bloch, Ernest
Sonata in C Minor, op. 45, no. 3 PET; SCH
l Nigun, from Baal Shem FIS
Boulanger, Lili
Hindemith, Paul
l D’un matin de printemps FAB, SCH
Sonata in C Major (1939) OTT
l 1st and 2nd movements Brahms, Johannes
Hungarian Dances WoO 1 (arr. Joseph Joachim FIS)
Sonata in E flat Major, K 481 BAR; HEN
l 1st movement Chan, Ka Nin
Sonata in A Major, K 526 BAR; HEN l Soulmate for Solo Violin CMC
Copland, Aaron
l Hoe-down, from Rodeo B&H
67 Grade 10
Debussy, Claude List D
l Golliwogg’s Cake-walk (arr. Jascha Heifetz, in The
Heifetz Collection, 1 FIS)
Unaccompanied Repertoire of Johann
Sebastian Bach
Dvořák, Antonín
l Romance in F Minor, op. 11 INT, SCH
l Slavonic Dance in E Minor, op. 46, no. 2 (arr. Fritz Bach, Johann Sebastian
Kreisler FIS) Partita No. 1 in B Minor, BWV 1002 BAR; HEN
l Allemande and Double
Eckhardt-Gramatté, Sophie-Carmen l Sarabande and Double
Ten Caprices CMC l Tempo di bourrée and Double
l Caprice No. 2 Partita No. 3 in E Major, BWV 1006 BAR; HEN
l Caprice No. 3 l Preludio
Girón, Arsenio Sonata No. 1 in G Minor, BWV 1001 BAR; HEN
Five Episodes CMC l Adagio
l three contrasting movements l Presto
Sonata No. 2 in A Minor, BWV 1003 BAR; HEN; INT
Kreisler, Fritz l Andante
l Praeludium and Allegro (in the Style of Pugnani) l Allegro
OTT; FIS Sonata No. 3 in C Major, BWV 1005 BAR; HEN; INT
l Variations on a Theme of Corelli (in the Style of l Adagio
Giuseppe Tartini) OTT; FIS l Largo
Kroll, William
l Banjo and Fiddle SCH
Lau, Kevin Orchestral Excerpts
l Joy CMC
Candidates should be prepared to play the first violin part
Moszkowski, Moritz of two contrasting excerpts by two different composers
l Guitarre, op. 45, no. 2 FIS; PET from the following list. Candidates are encouraged
which these excerpts are taken. The candidate’s ability
l Rondo in G Major, from Haffner Serenade, K 250 (arr.
Fritz Kreisler OTT; FIS)
understanding of the style and context is an important
Novácek, Ottokar examination criterion. For instructions regarding the
l Moto perpetuo INT performance of chords please see p. 11.
Prokofiev, Sergei
• All orchestral excerpts are included in Violin Series, 2013
l Five Melodies, op. 35 bis B&H
l March from Love for Three Oranges (arr. Jascha Heifetz
• Alternatively, candidates may use standard published
FIS)
Sarasate, Pablo de includes measure numbers for reference.
l Romanza Andaluza (Danse espagnole, op. 22, no. 1)
INT Each bulleted item (u) represents one selection for
Schumann, Robert
l Dedication (in Auer Selected Pieces MUZ)
Sinding, Christian
Symphony No. 9 in D Minor, op. 125
Suite in A Minor, op. 10 INT
u 2nd movement: mm. 21–93 (beat 1) and 3rd
movement: mm. 99–114
l 3rd and 4th movements
Berlioz, Hector
Symphonie fantastique, op. 14
l Scherzo, op. 42, no. 2 PET
u 1st movement (Rêveries, passions): mm. 3–24 and
l Sérénade mélancolique, op. 26 PET
2nd movement (Un bal): pickup to mm. 39–94 (first
Webern, Anton von sixteenth note), pickup to mm. 257–302
l Four Pieces, op. 7 UNI
Brahms, Johannes
Wieniawski, Henryk Symphony No. 1 in C Minor, op. 68
l Légende, op. 17 FIS u 1st movement: mm. 1–29, 41–70
Grade 10 68
Dvořák, Antonín Technical Requirements
String Quartet No. 12 in F Major (“American”), op. 96
u 1st movement: pickup to mm. 112–152 (beat 1) Please see “Technical Requirements” on p. 11 for
Mendelssohn, Felix examination.
Symphony No. 4 in A Major (“Italian”), op. 90
u 1st movement: mm. 1–110
Etudes
Mozart, Wolfgang Amadeus Candidates must prepare one etude from the following
Die Zauberflöte, K 620 list. Each bulleted item (l) represents one selection for
u Overture: mm. 20–96, 216– end examination purposes.
Tchaikovsky, Pyotr Il’yich Campagnoli, Bartolomeo
Serenade for Strings, op. 48 7 Divertimenti, op 18 RIC; KMH
u 1st movement: mm. 1–36, 91–138 Divertimento No. 4
Symphony No. 4 in F Minor, op. 36 l Bolero
u 1st movement: pickup to mm. 70–103 and 2nd l Finale
movement: mm. 85–117 and 4th movement: mm. Divertimento No. 5
30–59 l Allegro
Weber, Carl Maria von Divertimento No. 6
Oberon, J 306 l Finale
u Overture: mm. 11–16, pickup to mm. 23–55, 117– Dont, Jacob
145 Etudes and Caprices, op. 35 SCH; INT
l any one
Dancla, Charles
20 Études brillantes et caractéristiques, op. 73 EMB
l no. 6 or no. 16
Gaviniès, Pierre
24 Études (Matinées) PET; INT
l any one
Kreutzer, Rodolphe
Locatelli, Pietro
The Art of the Violin: 24 Caprices for Solo Violin, op. 3 RIC
l any one
Rode, Pierre
24 Caprices FIS; INT
l one of nos. 4, 6, 7, 9, 11–24
Rovelli, Pietro
12 Caprices, op. 3 IMS
l any one
69 Grade 10
Technical Tests
Candidates must play all scales, arpeggios, and double stops from memory.

Major all keys
3 octaves = 90
Harmonic and Melodic Minor all keys
Major Artificial Harmonics B
|
Harmonic and Melodic Minor
Artificial Harmonics B
2 octaves = 84 œ |œ
Chromatic
on any note 3 octaves = 84
Arpeggios
Major all keys
Minor 3 octaves = 108
all keys
Dominant 7th of Major Keys
all keys 3 octaves = 72
Diminished 7th of Minor Keys

all keys 3 octaves = 72
Double Stops
Major in 3rds, 6ths, 8ves D, E, F
Harmonic and Melodic Minor in 2 octaves = 104
3rds, 6ths, 8ves D, E, F
Major in Solid Fingered 8ves one key 1 octave
(student’s alternate 1–3 and = 104
choice) 2–4 fingering
Major in Solid 10ths one key
1 octave
(student’s = 104
on A and E strings
choice)
Ear Tests
Intervals
the piano.
or

any interval within the octave any interval within the octave
Grade 10 70
Chords
Candidates will be asked to identify the following chords and their inversion or position after the examiner has played
the chord once in solid (blocked) form, close position on the piano.
Chords Position
major and minor four-note chords root position, 1st inversion, 2nd inversion
Cadences
Candidates will be asked to identify by name or symbols the following cadences played within a single phrase. The
phrase may be in a major or minor key and may contain up to three cadences. The examiner will play the tonic chord
once, then play the phrase twice.

perfect or authentic V(7) –I
plagal IV–I
imperfect I –V
deceptive (interrupted) V (7) –VI
Example only
Playback
Candidates will be asked to play back the lower part of a two-part phrase on the violin. The examiner will name the key,
play the tonic triad once, and play the phrase twice on the piano.

Tonic, mediant, dominant, or upper tonic any major key two to four measures
Example only
71 Grade 10
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. New features introduced at Grade 10 may include cadenza-like
passages, double sharps, double flats, and changes of meter.

Grade 8 any major or any position, including sul sixteen to twenty
repertoire minor key string option measures
Clapping

four to six measures
Example only
Grade 10 72
ARCT in Violin Performance
The ARCT in Violin Performance is the culmination of The ARCT in Violin Performance Requirements Marks
Royal Conservatory Examinations Certificate Program,
and is evaluated as a concert performance. Excellence in Repertoire 80
every aspect of performance is expected. Candidates are one selection from List A 20 (2)
expected to perform with confidence, communicating the one selection from List B 20
essence of the music while demonstrating a command of one selection from List C 20 (2)
the instrument. A detailed understanding of the stylistic one selection from List D 20 (2)
and structural elements of each repertoire selection is (The figures in parentheses for Lists A, C, and
expected. Candidates must achieve an Honors standing D indicate the marks that will be deducted
(70 percent) in order to be awarded an ARCT in Violin for selections that are not memorized.)
Performance Diploma. Orchestral Excerpts 20
two excerpts from the Syllabus list
For descriptions of performance marks, please see – one from List 1 (Orchestral Tutti Parts) 10
“Marking Criteria for Performance of Repertoire” on p. 81. – one from List 2 (Concertmaster Solos and 10
An ARCT candidate’s performance of a work may receive a Chamber Music Repertoire)
failing grade for any of the following reasons: Total possible marks (pass = 70) 100
• repeated breaks in continuity
• substantial omissions Theory Prerequisites
• lack of technical control Advanced Rudiments
• textual inaccuracies Intermediate Harmony or Intermediate
• inappropriate tempo, character, or style Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
The ARCT Examination Theory Co-requisites
Please see “Co-requisites and Prerequisites” on p. 8, History 3: 19th Century to Present
“Classification of Marks” on p. 81, and “Supplemental And any two of:
Examinations” on p. 83 for important details regarding the Advanced Harmony or Advanced Keyboard
ARCT in Violin Performance examination. Candidates are Harmony
strongly recommended to study for at least two years after Counterpoint
passing the Grade 10 examination. Analysis
Piano Co-requisite
Grade 6 Piano
73 ARCT in Violin Performance

Repertoire Paganini, Niccolò
Concerto No. 1 in D Major, op. 6 SIM; INT
Please see “Examination Repertoire” on p. 9 for important l 1st and 2nd movements
information regarding this section of the examination.
Mozetich, Marjan
Candidates must prepare four contrasting selections by l Affairs of the Heart CMC
four different composers: one from List A, one from List Prokofiev, Sergei
B, one from List C, and one from List D. Candidates are Concerto No. 1 in D Major, op. 19 INT
expected to select repertoire in a variety of keys and l 1st and 2nd movements
tempos, representing at least three different historical eras. Concerto No. 2 in G Minor, op. 63 INT
Each bulleted item (l) represents one selection for
examination purposes. Unless otherwise indicated, Saint-Saëns, Camille
candidates should prepare the complete work. Note that the Concerto in B Minor, op. 61 SCH; INT
selections in List B need not be memorized. l 1st and 2nd movements
The length of the performance must be between 40 and Tchaikovsky, Pyotr Il’yich
50 minutes. The examiner may stop the performance if it Concerto in D Major, op. 35 HEN; INT; OTT; BOS; KAL
exceeds the allotted time. l 1st movement (with cadenza)
Please note that cadenzas are required where indicated in
the score. In general, any cadenza is acceptable, as long Vieuxtemps, Henri
as the examiner is provided with an original copy of the Concerto No. 4 in D Minor, op. 31 FIS; INT
music, and it is equivalent in difficulty to the standard l 1st and 2nd movements
cadenza for that work. Concerto No. 5 in A Minor, op. 37 PET; INT
List A Weinzweig, John

Concerto CMC
Concertos and Fantasias l 1st and 2nd movements
Wieniawski, Henryk
Bruch, Max Concerto in D Minor, op. 22 PET; INT
Concerto in D Minor, op. 44, no. 2 FIS l 1st and 2nd movements
l 1st and 2nd movements l 2nd and 3rd movements
Scottish Fantasy in E flat Major, op. 46 SCH; INT
l 3rd and 4th movements List B
Conus, Jules Sonatas
Concerto in E Minor FIS; MAS; INT
l 1st and 2nd movements Adaskin, Murray
Dvořák, Antonín Sonata No. 1 (1946) CMC
Concerto in A Minor, op. 53 BAR; INT l 1st and 2nd movements
l 1st and 2nd movements Beethoven, Ludwig van
l 2nd and 3rd movements Sonata in C Minor, op. 30, no. 2 HEN
He Zhanhao and Chen Gang l two contrasting movements
l Butterfly Lovers Concerto SMPH Sonata in E flat Major, op. 12, no. 3 HEN
Lalo, Édouard
Symphonie espagnole, op. 21 HEN; SCH Brahms, Johannes
l 1st and 4th movements Sonata in D Minor, op. 108 INT
l 4th and 5th movements l two contrasting movements
Mendelssohn, Felix Coulthard, Jean

Concerto in E Minor, op. 64 BAR; FIS; PET l Duo Sonata BER; CMC
l 1st and 2nd movements Debussy, Claude
l 2nd and 3rd movements Sonata in G Minor DUR; PET
Mozart, Wolfgang Amadeus l two contrasting movements
Concerto in A Major, K 219 INT; BAR
ARCT in Violin Performance 74

Dolin, Samuel Tartini, Giuseppe
Sonata BER; CMC Sonata G Minor (“Devil’s Trill”) Bg5 OTT; RIC
l two contrasting movements l two contrasting movements (with cadenza)
Dvořák, Antonín Weinzweig, John
Sonata in F Major, op. 57 BAR l Sonata OUP; CMC
Fauré, Gabriel List C
Sonata in A Major, op. 13 HEN; SCH; INT Concert Repertoire
Franck, César Andrzejowski, Umińska
Sonata in A Major HEN; SCH l Burleska PWM
Bartók, Béla
Girón, Arsenio l Rhapsody No. 1 B&H
l Violin Sonata II (Three Invitations) CMC
Berlioz, Hector
Grieg, Edvard l Rêverie et caprice (Romance) BAR
Sonata in G Major, op. 13 (1867) PET; FIS
l 1st and 2nd movements Brott, Alexander
l Invocation and Dance CMC
Hindemith, Paul
Sonata in D Major, op. 11, no. 2 OTT Dinicu, Grigoraş
l 1st and 2nd movements l Hora Staccato (Roumanian) (arr. Jascha Heifetz FIS)
MacDonald, Andrew P. Elgar, Edward

Violin Sonata No. 2 (“The Phoenix”) CMC l La capricieuse, op. 17 FIS; BRH
l 1st movement Falla, Manuel de
l 2nd movement l Danse espagnole, from La vida breve (arr. Fritz
Morawetz, Oskar Kreisler FIS)
l Duo RIC; CMC Kabalevsky, Dmitri
l Sonata no. 1 (1956) AEN; CMC l Rondo, op. 69 MAS
Mozart, Wolfgang Amadeus Kreisler, Fritz
Sonata in B flat Major, K 454 BAR; HEN l Caprice viennois, op. 2 FIS
l two contrasting movements l Recitative and Scherzo caprice FIS
Prokofiev, Sergei l Tambourin chinois, op. 3 FIS
Sonata in D Major, op. 94a INT Mozetich, Marjan
l two contrasting movements l L’esprit chantant CMC
Raum, Elizabeth Paganini, Niccolò
l Sonata CMC l Moto Perpetuo INT
Respighi, Ottorino Papineau-Couture, Jean
Sonata in B Minor RIC Trois caprices PER; CMC
l two contrasting movements l two contrasting movements
Somers, Harry Pentland, Barbara
Sonata No. 2 BER; CMC l Vista BER; CMC
Piazzolla, Astor
Strauss, Richard l Le Grand Tango BEB
Sonata in E flat Major, op. 18 UNI
l two contrasting movements Raum, Elizabeth
l Les ombres CMC
Stravinsky, Igor l Prayer and Dance of Praise CMC
Duo concertante B&H
l two contrasting movements Ravel, Maurice
l Tzigane BAR; DUR

Robinovitch, Sid Hétu, Jacques
l Meditation CMC l Rondo varié pour violon seul, op. 25 DOM; CMC
l Variations, op. 11 DOM; CMC
Saint-Saëns, Camille
l Havanaise, op. 83 BAR; FIS; SCH; INT Ledroit, Christien
l Introduction and Rondo capriccioso, op. 28 l Wandering the Threshold of Delirium CMC (to be
FIS; SCH; INT performed without audio track)
Sarasate, Pablo de Paganini, Niccolò
l Habañera (Danse espagnole, op. 21, no. 2) INT Twenty-Four Caprices, op. 1 EMB
l Introduction and Tarantelle, op. 43 INT l one of nos. 9, 13, 14, 16, 18, 20
l Zapateado (Danse espagnole, op. 23, no. 2) INT; EMB
Prévost, André
l Zigeunerweisen, op. 20 FIS; INT
l Improvisations I pour Violine Seul DOM; CMC
Stravinsky, Igor
Ysaÿe, Eugène
Suite Italienne B&H
Six Sonatas, op. 27 SCH
l 1st, 3rd, and 6th movements
Sonata No. 1
Szymanowski, Karol l two contrasting movements
l La fontaine d’Aréthuse, op. 30, no. 1 PWM Sonata No. 3
l Nocturne and Tarentella, op. 28, no. 1 UNI; INT l complete
Sonata No. 6
l complete
l Meditation, op. 42, no. 1 FIS; INT
l Waltz-Scherzo, op. 34 INT Zarzycki, Aleksander
l Mazurka in G Major, op. 26 PWM
l The Lark Ascending OUP
Vieuxtemps, Henri Orchestral Excerpts
l Rondino op. 32, no. 2 (in Masterpieces for Violin FIS) Candidates should be prepared to play two excerpts by
Wieniawski, Henryk different composers: one from Group 1 and one from
l Polonaise brillante in A Major, op. 21 INT; SCH Group 2. Candidates are encouraged to listen to and
l Polonaise in D Major, op. 4 INT become familiar with the works from which these excerpts
l Scherzo tarantella in G Minor, op. 16 PET; FIS are taken. The candidate’s ability to perform excerpts in a
manner that demonstrates an understanding of the style
Zarzycki, Aleksander and context is an important examination criterion. For
l Mazurka in G Major, op. 26 PWM instructions regarding the performance of chords please
see p. 11.
List D • All orchestral excerpts are included in Violin Series, 2013

Unaccompanied Repertoire • Alternatively, candidates may use standard published
Bach, Johann Sebastian includes measure numbers for reference.
Partita No. 2 in D Minor, BWV 1004 BAR; HEN
l Chaconne Each bulleted item (u) represents one selection for
Sonata No. 1 in G Minor, BWV 1001 BAR; HEN examination purposes.
l Fugue
Sonata No. 2 in A Minor, BWV 1003 BAR; HEN Group 1
l Fugue
Sonata No. 3 in C Major, BWV 1005 BAR; HEN Orchestral Tutti Parts (First Violin)
l Fugue
Eckhardt-Gramatté, Sophie-Carmen Brahms, Johannes
Ten Caprices CMC Symphony No. 4 in E Minor, op. 98
l one of nos. 5–10 u 4th movement: mm. 41–80, 153–177
Gruber, H.K. Mendelssohn, Felix
l Four Pieces for Solo Violin B&H Incidental Music to A Midsummer Night’s Dream, op. 21
u 1st movement (Scherzo): mm. 17–99, 115–135
ARCT in Violin Performance 76

Mozart, Wolfgang Amadeus Group 2
Symphony No. 39 in E flat Major, K 54
u 1st movement: mm. 1–16, 26–90 and 4th movement:
Concertmaster Solos and Chamber Music
pickup to mm. 1–78 Repertoire
Prokofiev, Sergei
Symphony No. 1 (“Classical”), op. 25 Beethoven, Ludwig van
u 1st movement: mm. 1–32 and 2nd movement: Missa solemnis, op. 123
mm. 1–20 (beat 1) and 4th movement: mm. 1–41, u Sanctus (Benedictus): mm. 110–134, 140–184
129–162 Rimsky-Korsakov, Nicolai
Schumann, Robert Capriccio espagnol, op. 34
Symphony No. 2 in C Major, op. 61 u 1st movement (Alborada): mm. 55–72 and 3rd
u 2nd movement (Scherzo): pickup to mm. 1–97 movement (Alborada): mm. 14–27, 41–63 and 4th
movement (Scena e canto gitano): solo cadenza and
Shostakovich, Dmitri 5th movement (Fandano asturiano): mm. 25–36,
Symphony No. 5, op. 47 51–61
u 1st movement: mm. 254–277 (beat 1) Schéhérazade, op. 35
Smetana, Bedřich u 1st movement: mm. 14–18, 94–102 (beat 1) and 3rd
The Bartered Bride movement: mm. 142–165 and 4th movement: mm.
u Overture: mm. 1–14, 31–66 (beat 2), 401–421 8–9, 29–30 (cadenza)
(beat 1) Schoenberg, Arnold
Strauss, Richard Verklärte Nacht, op. 4
Don Juan, op. 20 u mm. 278–294, 300–318
u mm. 1– 62 Schubert, Franz
String Quartet No. 14 in D Minor (“Death and the
Maiden”), D 810
u 1st movement: mm. 1–14, 61–114 (beat 1) and 4th
movement: mm. 687–end
Strauss, Richard
Le Bourgeois Gentilhomme Suite, op. 60
u 4th movement (Auftritt und Tanz der Schneider):
pickup to mm. 35–56, pickup to mm. 81–119
Swan Lake Suite
u 4th movement (Scène): mm. 10–34, 42–57, 65–72
Teacher’s ARCT
For current information on the Teacher’s ARCT
requirements, please visit www.rcmusic.ca.

Register for an Examination
Examination Sessions and Registration Deadlines
Login at Exact dates and deadlines can be found online. Register early to avoid disappointment.
rcmusic.ca Late registrations are subject to an additional fee and may be denied.
to register.
Winter Session—register by early November
• practical examinations take place in January
• theory examinations take place in December
Spring Session—register by early March

• practical examinations take place in June
• theory examinations take place in May
Summer Session—register by early June

• practical examinations take place in August
• theory examinations take place in August
Online Registration
All registrations should be submitted using the online registration process. Visit www.
examinations.rcmusic.ca to register.
Examination Fees
Examination fees must be paid at registration using a valid credit card. Current
examinations fees may be found at www.examinations.rcmusic.ca.
Examination Centres
Examinations are conducted in more than 300 communities across North America.
Each examination centre has a local Examination Centre Representative who ensures
that students and teachers have a successful examination experience.
Teachers may verify their students’ examination schedules by visiting www.
All candidates may examinations.rcmusic.ca.
verify their examination
schedules online three
to four weeks after the
Examination Scheduling
registration deadline. Examination candidates may check for their examination schedules online three to four
Examination schedules weeks after the registration deadline.
will not be mailed. Candidates are asked to print the “Examination Program Form” using the “Examination
Scheduling” feature. The program form must be filled out by the candidate and/or
teacher, and brought to the examination centre for presentation to the examiner.
Candidates who, for any reason, are unable to attend an examination should contact the
Centre Representative listed on their Examination Schedule. The Centre Representative
may be able to provide an alternate appointment time.
Register for an Examination 78

Examination Regulations
Examination Procedures
Candidates must be ready to perform at least fifteen minutes before their scheduled
time. Please note that examination times cannot be exchanged among candidates. Please
contact the The Royal Conservatory Examinations Centre Representative if you are
unable to attend the examination at the assigned time.
• Although most examination centres have a tune-up room, the availability of a tune-
up room cannot be guaranteed. Examination centres do not provide facilities for
rehearsal with piano.
• Candidates must provide their own collaborative pianist in order for an examination Candidates must
to proceed. Recorded accompaniments are not permitted. provide their own
• Candidates are advised to bring an electronic tuner to the examination. The piano collaborative pianist
provided for the examination will be tuned to A440. in order for an
• Examiners are not permitted to assist candidates in tuning their instruments. examination to
A teacher or assistant should be on hand to assist candidates who cannot tune proceed.
accurately.
• A music stand is available in most centres, but the availability of a music stand cannot
be guaranteed.
• Photo ID may be requested before candidates are admitted to the examination room.
• Candidates are asked to list all repertoire and etudes to be performed on the Candidates must
Examination Program Form and bring it to the examination for presentation to the provide the examiner
examiner. with an original,
• Candidates must provide the examiner with an original, published copy of all music to published copy of all
be performed at the examination.
music to be performed
• If the candidate is performing with music, he or she should bring two original copies
to the examination, one to play from and one to give to the examiner. Collaborative at the examination.
pianists should play from an original, published copy of the score.
• Photocopied music is not permitted in the examination room unless the candidate
has a letter of permission from the publisher or website. (Please see “Copyright and
Photocopying” on p. 88).
• Recording devices and cell phones are strictly prohibited in the examination room.
Electronic devices, books, notes, bags, and coats must be left in the area designated
by the Centre Representative.
Recording devices and
• Page turners and other assistants are not permitted in the examination room. Waiting
areas are provided for parents, teachers, and assistants. Standing or listening outside cell phones are strictly
the examination room door is prohibited. prohibited in the
• The candidate’s performance of a repertoire selection or an etude may be interrupted examination room.
at the examiner’s discretion once an assessment has been made.
• The examiner will choose a representative sampling of items on the technical
requirements list.
Credits and Refunds for Missed Examinations

Credits (formerly called “fee extensions”) and refunds are only granted in two specific
situations. Candidates who are unable to attend an examination for medical reasons
or because of a scheduling conflict with a school examination are eligible to request
either an examination credit for the full amount of the examination fee or a fifty percent
refund of the examination fee.
79 Examination Regulations
Requests for examination credits or refunds must be made to The Royal Conservatory
Examinations in writing and be accompanied by the following documentation:
All requests must be • for medical reasons: a physician’s letter and the candidate’s examination schedule
submitted by mail • for direct time conflicts with school examinations: a letter from a school official on
school letterhead and the candidate’s Examination Schedule
or fax within two
weeks following the
Candidates who, for any reason, are unable to attend an examination should contact the
examination. Requests
Centre Representative listed on their Examination Schedule immediately.
received after this time
will be denied.
Examination Credit
An examination credit (formerly called a “fee extension”) may be applied to the fee
of a future examination. Examination credits are valid for one year from the date of
the original scheduled examination. Examination credits can be redeemed when the
candidate registers for his or her next examination. The credit will be automatically
applied during the online registration process. Please note that credits are not transferable
and may not be extended beyond one year.
Fee Refund
Candidates who know at the time they are applying for a fee extension that they will not
be able to make use of a credit within the one-year time period may instead apply for a
refund of fifty percent of the examination fee.
Requests for examination refunds or credits must be made to The Royal Conservatory
Examinations in writing and be accompanied by the necessary documentation (see
above). All requests must be submitted by mail or by fax within two weeks following the
scheduled examination date.
Candidates with Special Needs

Candidates with special needs should submit a Special Needs Request Form, by mail or
by fax, to The Royal Conservatory Examinations before the registration deadline. Each
The Special Needs case will be assessed individually.
Request Form is
Candidates may receive help in and out of the examination room if required. Please note
available online at
that helpers must normally remain in the waiting area during the actual examination.
www.examinations.
rcmusic.ca.
Examination Results
Candidates and teachers can access examination marks online within approximately
four weeks of the examination date. Access to complete examination results, with
comments and marks, will be available no later than eight weeks after the examination
date.
Please note that
results will neither be
Teachers may access their students’ examination results by visiting
mailed nor provided by
telephone.
www.examinations.rcmusic.ca.
Official transcripts are available upon written request to The Royal Conservatory
Examinations and payment of the requisite fee. (The Official Transcript Request Form
may be downloaded from the website.)
Examination Regulations 80
Interpreting Examination Results
All candidates may access their complete, official results (including examiners’
comments) online no later than eight weeks after the examination has taken place. The
examiner’s report explains how the final mark was calculated, and provides information
to support candidates in their future musical development. The mark reflects the
examiner’s evaluation of the candidate’s performance during the examination, which
being a live performance, cannot be reconstructed. Appeals are considered only in
the event of a serious procedural irregularity, and only upon completion of the official
Appeals Process.
Classification of Marks
First Class Honors with Distinction 90–100
First Class Honors 80–89
Honors 70–79
Pass (Preparatory and Grades 1–10) 60
Marking Criteria for Performance of Repertoire

First Class Honors with Distinction: 90–100
This standing is awarded for exceptional performances that are confident and
communicative, while demonstrating technical command, insightful awareness of style,
and convincing musical interpretation.
First Class Honors: 80–89

This standing is awarded for performances that are musically engaging, show thoughtful
preparation, and demonstrate technical security, stylistic understanding, and musical
awareness. There is quick recovery from any minor slips or brief lapses.
Honors: 70–79
This standing is awarded for performances that are generally secure and fluent, indicate
careful preparation, and reflect some awareness of style and musical understanding.
There may be occasional slips or lapses, with room for further development of technical
control and attention to musical details.
Pass: 60–69 Login at rcmusic.ca to

This standing is awarded for performances that exhibit a basic level of preparation. view online results
There may be slips or lapses, loss of continuity, unresolved technical issues, and a lack
of attention to musical details. The examiner’s report will identify areas that require
further study and exploration.
Fail: 50–59
The performance is a work in progress. There are many errors, slips, and stumbles
disturbing the continuity. Although some aspects of the performance may show basic
preparation, a satisfactory performance requires more consistent fluency and attention
to both musical elements and markings in the score.
Marks Below 50
The performance is not yet ready for assessment due to insufficient preparation.
Table of Marks
Prep– Grade Grades Grade Grade Grade Grades Grade ARCT in Violin
Grade 1 2 3–4 5 6 7 8–9 10 Performance
Repertoire 60 60 60 60 60 50 50 50 (35) 80
List A 27 27 18 17 17 15 (1.5) 15 (1.5) 15 (1.5) 20 (2)
List B 27 27 18 20 20 20 15 15 20
List C – 18 17 17 15 (1.5) 10 (1) 10 (1) 20 (2)
List D – – – – – 10 (1) 10 (1) 20 (2)
Memory 6 6 6 6 6 – – – –
(3+3) (3+3) (2+2+2) (3+3) (3+3)
Orchestral _ _ _ _ _ 10 10 10 (7) 20
Excerpts
Technical 30 30 20 20 20 20 20 20 (14) –
Requirements
Etudes 15 15 10 10 10 8 8 8 –
Technical Tests 15 15 10 10 10 12 12 12 –
Ear Tests 10 10 10 10 10 10 10 10 (7)

Clapback 5 3 3 3 2 2 – – –
Intervals – 3 3 3 3 3 3 2 –
Chords – – – – 2 2 2 2 –
Cadences – – – – – – 2 3 –
Playback 5 4 4 4 3 3 3 3 –
Sight Reading – – 10 10 10 10 10 10 (7) –
Playing – – 7 7 7 7 7 7 –
Clapping – – 3 3 3 3 3 3 –
TOTALS 100 100 100 100 100 100 100 100 100
• The figures in parentheses for Lists A, C, and D indicate the marks that will be
deducted for selections that are not memorized.
• Figures in bold parentheses indicate the minimum number of marks required to
receive 70 percent.
• To qualify for the ARCT examination, Grade 10 candidates must achieve either an
overall mark of 75 or a minimum of 70 percent in each section of the examination. (In
the “Table of Marks,” 70-percent figures are given in parentheses.)
• Candidates for the ARCT in Violin Performance must achieve an overall mark of 70 in
order to pass.
Supplemental Examinations
Improve an Examination Mark
Candidates seeking to improve their overall mark at the Grade 10 level may take one or
more Supplemental Examinations.
• Supplemental Examinations must be taken within two years of the original Candidates in Grade
examination. 10 must complete the
• Supplemental Examinations are given during regular examination sessions. Grade 10 theory co-
• Candidates in Grade 10 may repeat any two sections of a practical examination: requisites within five
Repertoire, Orchestral Excerpts, Technical Requirements, Ear Tests, or Sight Reading.
years of the original
• To be eligible for a Supplemental Examination in Grade 10, candidates must achieve a
minimum mark of 65 overall. practical examination,
not any subsequent
supplemental
Split Grade 10 Practical Examinations examinations.
Beginning in the 2013–2014 academic year, candidates may choose to take the Grade 10
Violin examination in two separate segments: one consisting entirely of Repertoire; the
other consisting of Technical Requirements, including Etudes and Technical Tests, as
well as Ear Tests, Sight Reading, and Orchestral Excerpts. The division of material in the
split Grade 10 examination cannot be altered. However, candidates may choose which
segment to take first.
Candidates for the split Grade 10 examination must complete all practical examination
requirements within two years of the initial examination segment. Candidates for the
split Grade 10 examination may schedule their examinations within the same session or
in different sessions; however, both segments of the split Grade 10 examination and any
supplemental examinations must be completed within the two-year period. Candidates
who choose the split format must complete both segments before registering for any
supplemental examinations. All theoretical co-requisites for the Grade 10 examination
must be completed within five years of the initial Grade 10 practical examination
segment. Only candidates who take the complete Grade 10 examination (without the
split) will be eligible to receive a Regional Gold Medal.
Practical Examination Certificates

Certificates are awarded to candidates who successfully complete the requirements for
their Grade.
Please note that ARCT
Beginning in Grade 5, certificates are awarded after the theory co-requisites for that diplomas are awarded
Grade have been successfully completed. Theory co-requisites must be completed to candidates at the
within five years of the original practical examination.
annual Convocation
ceremony. Candidates
Medals may not use the official
The academic year runs from September to August. Each academic year, gold medals are designation “ARCT”
awarded to the candidates who achieve exceptional examination results. No application before Convocation.
is required.
Gold Medals
Gold medals are awarded by province or region to candidates in Preparatory and Grades
1 to 10 who receive the highest marks for their respective practical examination. To
be eligible, a candidate must receive a minimum mark of 80 percent in the practical
examination, and have completed all theory co-requisites for the respective Grade.
ARCT Gold Medals
A gold medal is awarded to the graduating ARCT in Violin Performance candidate who
receives the highest mark across Canada for the practical examination. To be eligible, a
candidate must receive:
• A minimum of 85 percent in the practical examination
• A minimum of 70 percent in each theory co-requisite examination
A gold medal for excellence in theory is also awarded to the graduating ARCT candidate
who completes the theory examinations listed below with the highest average mark. To
be eligible, a candidate must receive a minimum overall average of 80 percent for the
eight examinations.
Basic Harmony or Basic Keyboard Harmony

Intermediate Harmony or Intermediate Keyboard Harmony
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
History 1: An Overview
History 2: Middle Ages to Classical
History 3: 19th Century to Present
School Credits
The Royal Conservatory Examinations results can sometimes be used as a credit
toward high school graduation or toward university entrance. In Canada, the policies
of provincial education ministries can be found online under “Candidate Recognition,
Accreditation.” Candidates are advised to discuss the eligibility of their examination
results with their school principal or guidance counsellor.
Musicianship Examinations
A musicianship examination may replace the Ear Tests section of a Grade 8, 9, 10, or
ARCT in Violin Pedagogy examination. Please consult the current Musicianship Syllabus
at www.examinations.rcmusic.ca for examination requirements. The musicianship
examination must be taken at least one session before the practical examination.
Musicianship Grade Practical Examination Grade

Junior Musicianship Grade 8
Intermediate Musicianship Grade 9
Senior Musicianship Grade 10 and Teacher’s ARCT
Candidates who have completed a musicianship examination should submit the

following documentation when registering for the corresponding practical examination:
• a photocopy of the musicianship examination results
• a letter requesting exemption from the Ear Tests section of the upcoming practical
examination
RESPs
Use of Education Funds for Music Studies
Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use
these funds to support private studies in music at the Grade 9, Grade 10, and/or ARCT
levels. Candidates should consult their RESP providers for more information.
Editions
For many repertoire items, the Syllabus listing includes a suggested edition (indicated by
an assigned publisher abbreviation). These editions have been chosen for their quality
and for their availability in North America.
The Royal Conservatory strongly encourages the use of modern editions. These

editions benefit from current scholarship and provide a reliable basis for study and
performance. However, if a student has purchased an online edition or downloaded a
free edition which is in the public domain, they must provide either proof of payment,
in the case of purchased editions, or proof of legal, free download, in the case of online
editions in the public domain.
Fingering, bowing, and other editorial markings vary from edition to edition.
Examination marks will not be deducted for altering these editorial suggestions as long
as the resulting change is musically acceptable.
Availability
The Royal Conservatory Examinations has made every effort to ensure that the
materials listed in the Violin Syllabus, 2013 Edition are in print and available at leading
music retailers throughout North America. If you experience difficulty in obtaining
violin music in your community, you may visit www.frederickharrismusic.com to find a
listing of additional music retailers near you.
Anthologies and Collections

If a repertoire selection is published in a collection of a composer’s music or in an
anthology containing music by a number of composers, the title of the collection or
anthology is usually included in the Syllabus listing. Individual selections may also be
found in other sources. In order to save space, the words “volume” and “book” have
usually been omitted; a number following a title indicates the number of the volume,
book, or set number in which a selection can be found (for example, Suzuki Violin School,
Revised Edition, 2).
The Violin Series, 2013 Edition

In order to ensure the ready availability of high-quality examination materials, The
Frederick Harris Music Co., Limited has published the Violin Series, 2013 Edition. This
series includes nine volumes of Violin Repertoire (Preparatory through Grade 8) with
compact discs; two volumes of Violin Technique and Etudes (Preparatory–4; Grades 5–8),
and one volume of Orchestral Excerpts (Grades 7–ARCT).
Please note that
Copyright and Photocopying
photocopied music
Federal and international copyright laws prohibit the use of photocopies without will not be permitted
the permission of the publisher or website. The use of unauthorized photocopies for in the examination
examination purposes constitutes copyright infringement as outlined in the Copyright
room. Candidates who
Act of Canada. Additional information about federal copyright law is available online
through the Copyright Board of Canada at www.cb-cda.gc.ca. bring unauthorized
photocopies to the
Candidates should bring all music to be performed to the examination. Candidates examination will not be
who wish to photocopy one page of a selection to facilitate a page turn must do so with examined.
permission from the publisher.
With this notice, The Frederick Harris Music Co., Limited grants permission to festival,
recital, and examination participants to photocopy single pages from its publications to
facilitate a page turn.
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed throughout the Violin Syllabus,
2013 Edition. When no publisher or edition is indicated for a specific piece, the work is
available in several standard editions. For more information, please see “Examination
Repertoire” on p. 9.
LEE Leeds Music (Canada)
ABR Associated Board of the Royal LIM Lime Green Music
Schools of Music MAS Masters Music Publications
AEN Aeneas Press MPB M.P. Belaieff
ALF Alfred Publishing Co., Inc. MUZ Muzyka Moscow
AUG Augener & Co. NOV Novello
B&H Boosey & Hawkes OSS Ossian
B&V Broekmans & Van Poppel OTT Schott Music GmbH
BAR Bärenreiter OUP Oxford University Press
BEB Bèrben Edizioni Musicali PER Peer International
BER Berandol Music PET Edition Peters
BIL G. Billaudot PRE Theodore Presser Company
BMC Boston Music Company (Music PWM Polskie Wydawnictwo Muzyczne
Sales) RIC G. Ricordi
BOS Bosworth (Music Sales) S&B Stainer & Bell
BRH Breitkopf & Härtel SCH G. Schirmer Inc.
BUT Edition Butorac SIK Sikorski
CAN Cantus Music SIM N. Simrock Publishers
CHA Chappell & Co., Inc. (Alfred) SMPH Shanghai Music Publishing
CHD Children’s Music Series House
CHS Chester Music Ltd. UMP United Music Publishers
CMC Canadian Music Centre Library UNI Universal Edition Inc.
COM Éditions Combre WAR Warner Bros. Publications
DHM DeHaske Music Publishing WAT Waterloo Music Co. (Mayfair)
DOM Les Éditions Doberman-Yppan WIL Willis Music
DUR Durand et Cie ZAN Zanibon
ELK Elkin Co. Music Publishers ZIM Musikverlag Zimmerman
EMA European Music Archive (Spartan Frankfurt
Press)
EMB Editio Musica Budapest Other Abbreviations and
EVO Evocation Publishing Symbols
FAB Faber Music Ltd.
FHM The Frederick Harris Music Co., arr. arranged by
Limited attr. attributed to
FIS Carl Fischer Music ed. edited by
FRB Francesco Bongiovanni m., mm. measure (s)
GIV Givens Violinland no. number
GVT Gordon V. Thompson Music op. opus
(Alfred) p., pp. page(s)
HAL Hal Leonard Corporation rev. revised
HEN G. Henle Verlag trans. translated by
IMS IMSLP Petrucci Music Library transc. transcribed by
IND École Vincent d’Indy vol. volume
INT International Music
KAL Edwin F. Kalmus l represents one selection for
KJO Neil A. Kjos Music Company examination purposes
KMA Kevin Mayhew u selection is published in Violin
Series, 2013 Edition FHM
Thematic Catalogues
Opus Numbers and Catalogue Numbers
“Opus” (op.) is a term used with a number to designate the position of a given work
in the chronological sequence of works by the composer. However, these numbers
are often an unreliable guide, and may have been assigned by a publisher rather than
the composer. Sometimes a single work will have conflicting opus numbers. Works
in certain genres, such as operas, were not always assigned opus numbers. For these
reasons, individual works by a number of composers are identified by numbers assigned
in scholarly thematic catalogues. A number of the more important thematic catalogues
are listed below.
Johann Sebastian Bach

Works by J.S. Bach are identified by “BWV” numbers (for example, Partita No. 2 in D
Minor, BWV 1004). “BWV” is the abbreviation for Bach-Werke-Verzeichnis, the short title
of the Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian
Bach (Leipzig, 1950), a thematic catalogue of Bach’s complete works originally compiled
by the German music librarian Wolfgang Schmieder.
George Frideric Handel

Works by George Frideric Handel are identified by “HWV” numbers (for example,
Sonata No. 2 in G Minor, HWV 368). “HWV” is an abbreviation for Handel Werke
Verzeichnis. The full title for this thematic catalogue, compiled by Margaret and Walter
Eisen, is Händel-Handbuch, gleichzeitig Suppl. zu Hallische Händel-Ausgabe (Kassel:
Bärenreiter, 1978–1986).
Franz Joseph Haydn

Works by Haydn are identified by Hoboken numbers (for example, String Quartet in C
Major (“The Bird”), Hob. III:39). Anthony van Hoboken was a Dutch musicologist. His
thematic catalogue, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis (Mainz, B.
Schott, 1957–1971) divides Haydn’s works into a number of categories that are indicated
by Roman numerals.
Wolfgang Amadeus Mozart

Works by Mozart are identified by “K” numbers (for example, Symphony No. 25 in
G Minor, K 183). “K” stands for Köchel Verzeichnis, first published in 1862. Ludwig
Ritter von Köchel (1800–1877) was an Austrian professor of botany who devoted
his retirement years to collecting all the known works by Mozart. He created a
chronological catalogue in which these works are listed and numbered.
Franz Schubert
Works by Schubert are identified by “Deutsch” numbers (for example, String Quartet
No. 14 in D Minor (“Death and the Maiden”), D 810). These numbers were assigned
by Otto Erich Deutsch (1883–1967) in his thematic catalogue of Schubert’s works,
Thematisches Verzeichnis seiner Werke in chronologischer Folge (Neue Schubert Ausgabe Serie
VIII, Bd. 4, Kassell, 1978).
Georg Philipp Telemann

Works by Telemann are identified by “TWV” numbers (for example, Sonata in F Major,
TWV 41:F1). “TWV” is an abbreviation for Telemann Werkverzeichnis. This thematic
catalogue—Thematischer-Systematisches Verzeichnis seiner Werke: Telemann Werkverzeichnis
(Kassel: Barenreiter, 1984)—was compiled by Martin Runke.
Antonio Vivaldi
Works by Vivaldi are identified by “RV” numbers and/or by “F” numbers (for example,
Concerto in A Minor, op. 3, no. 6, RV 356/F I:176). RV is an abbreviation for Ryom
Verzeichnis. This thematic catalogue of Vivaldi’s works—Verzeichnis der Werke Antonio
Vivaldis: kleine Ausgabe (Leipzig: Deutscher Verlag für Musik, 1974, 2nd ed. 1979)
was compiled by Peter Ryom. The F numbers were assigned by Antonio Fanna in
Opere strumentali di Antonio Vivaldi (1678–1741): catalogo numerico-tematico secondo la
catalogazione Fanna (Milan, 1986).
Anhang
Some catalogue numbers include the prefix “Anh.” (for example, Notenbuch der Anna
Magdalena Bach, BWV Anh. 114). “Anh.” is an abbreviation for Anhang, a German word
meaning appendix or supplement.
WoO
Some catalogue numbers include the prefix “WoO” (for example, Sechs Menuette, WoO
10 by Ludwig van Beethoven). “WoO” is an abbreviation for Werk ohne Opuszahl
(work without opus number). These numbers are used to designate works for which the
composer did not assign an opus number.
Resources
The following texts are useful for reference, teaching, and examination preparation. No
single text is necessarily complete for examination purposes, but these recommended
reading and resource lists are an indispensable source of:
• teaching tips for all ages and abilities
• tips for interpretation of repertoire
• tools for better sight reading
• advice on fostering talent in young people
• supplemental teaching material to support and enhance the Violin Syllabus,
2013 Edition
General Resources
Violin Series, 2013 Edition
Violin Series, 2013 Edition: Violin Repertoire. 9 vols. (Preparatory–Level 8) with compact
discs. Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Violin Series, 2013 Edition: Violin Technique and Etudes. 2 vols. (Preparatory–4; 5–8).
Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Violin Series, 2013 Edition: Orchestral Excerpts (Levels 7–ARCT). Toronto, ON: The
Frederick Harris Music Co., Limited, 2013.
Sight Reading and Ear Training

Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody
Playback/Singback. 4 vols. (Levels 1–ARCT). Toronto, ON: The Frederick Harris
Music Co., Limited, 1986–1988.
———. Ear Training for Practical Examinations: Rhythm Clapback/Singback. 3 vols. (Levels
1–7). Toronto, ON: The Frederick Harris Music Co., Limited, 1989–1991.
Braaten, Brenda, and Crystal Wiksyk. Sound Advice: Theory and Ear Training (Levels 1–8)
(Online audio tracks at www.soundadvicedirect.com). Toronto, ON: The Frederick
Harris Music Co., Limited, 2005–2006.
Harris, Paul. Improve your Sight-reading! A Workbook for Examinations. London: Faber,
1994.
Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott, 1974.
Kember, John, Roger Smith, and Marguerite Wilkinson. Violin Sight-Reading. 2 vols.
Mainz, Schott, 2006–2007.
Martin, Joanne. I Can Read Music: A Note-reading Book for Violin Students. 2 vols. Van
Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard,
1991, 1997.
Nelson, Sheila. Flip-A-Rhythm. 2 vols. London: Boosey & Hawkes, 1995.
Schlosar, Carol. Comprehensive Ear Training, Professional Series 11 vols. (Levels 1–ARCT)
(Book with CD). Toronto, ON: The Frederick Harris Music Co., Limited. First
published Sicamous, BC: Keystroke Publishing, 1993.
———. Comprehensive Ear Training: Student Series. 11 compact discs (Levels 1−ARCT).
Toronto, ON: The Frederick Harris Music Co., Limited. First published Sicamous,
BC: Keystroke Publishing, 1998.
89 Resources
Official Examination Papers
The Royal Conservatory Examinations Official Examination Papers. 15 vols. Toronto, ON:
The Frederick Harris Music Co., Limited, published annually.
Basic Rudiments Intermediate Harmony
Intermediate Rudiments Intermediate Keyboard Harmony
Advanced Rudiments History 2: Middle Ages to Classical
Introductory Harmony Counterpoint
Basic Harmony Advanced Harmony
Basic Keyboard Harmony Advanced Keyboard Harmony
History 1: An Overview History 3: 19th Century to Present
Analysis
General Reference Works

Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music.
8th ed. New York: Norton, 2009.
Freymuth, Malva. Mental Practice and Imagery for Musicians. Boulder, CO: Integrated
Musician’s Press, 1999.
Green, Barry and W. Timothy Gallwey. The Inner Game of Music. New York: Doubleday,
1986.
Horvath, Janet. Playing (Less) Hurt: An Injury Prevention Guide for Musicians. Milwaukee,
WI: Hal Leonard, 2010.
Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in
Canada. 2nd ed. Toronto, ON: University of Toronto Press, 1992. (Available online
at www.thecanadianencyclopedia.com.)
Kamien, Roger. Music: An Appreciation. 9th ed. New York: McGraw-Hill, 2008.
Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press,
2002.
Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 11th ed. New York:
Norton, 2011.
Paull, Barbara, and Christine Harrison. The Athletic Musician: A Guide to Playing Without
Pain. Lanham, MD: Scarecrow Press, 1997.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA:
Harvard University Press, 1996.
———. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press of
Harvard University Press, 2003.
Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London:
Macmillan, 1993.
Sadie, Stanley, and John Tyrell, eds. The New Grove Dictionary of Music and Musicians.
2nd ed., 29 vols. London: Macmillan, 2001. (Also available online.)
Slonimsky, Nicolas, ed. emeritus. Baker’s Biographical Dictionary of Music and Musicians.
Centennial ed. 6 vols. New York: Schirmer, 2001.
Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA:
McGraw-Hill, 1998.
Resources 90
Violin Resources
Etudes and Technique
Barber, Barbara. Scales for Advanced Violinists. Van Nuys, CA: Alfred Publishing Co., Inc.,
2005.
Bauer, John. Progressive Scale Studies for Violin. Pacific, MO: Mel Bay, 1998.
Bériot, Charles-Auguste de. The First Thirty Concert Studies for the Violin, op. 123. New
York: G. Schirmer, 1939, 1967.
Cohen, Mary. Scaley Monsters. London: Faber Music, 1994.
Dancla, Charles. Thirty-six Melodious and Easy Studies, op. 84. Mainz: Schott, 2011.
———. 20 Études brillantes et caractéristiques, op. 73. Budapest: Editio Musica Budapest,
1980.
de Keyser, Paul. Violin Study Time. London: Faber Music, 1988.
Dont, Jacob. Thirty Progressive Excercises for the Violin (With Accompaniment of a Second
Violin), op. 38. New York: G. Schirmer, 1967.
Dounis, Demetrius. The Dounis Collection: Eleven Books of Studies for the Violin. New York:
Carl Fischer, 2005.
Flesch, Carl. Scale System. New York: Carl Fischer, 1926.
Galamian, Ivan. Contemporary Violin Technique. 2 vols. New York: Galaxy Music Corp.,
1966.
Gaviniès, Pierre. 24 études (matinées). Peters; New York: International Music, 1963.
Harris, Paul. Improve Your Scales! 4 vols. London: Faber Music, 1996.
Hrimaly, Jan. Scale Studies for Violin. New York: G. Schirmer, 1986.
Locatelli, Pietro. The Art of the Violin: 24 Caprices for Solo Violin, op. 3. Milan: Ricordi,
1920.
Minsky, Aaron. Ten American Violin Etudes. Oxford: Oxford University Press, 2011.
O’Reilly, Sally. Fiddle Magic: 180 Technical Exercises for Violin. San Diego, CA: Neil A. Kjos
Music Company, 1991.
———. String Rhythms. San Diego, CA: Neil A. Kjos Music Company, 1992.
Sassmannshaus, Kurt. Early Start on the Violin. 4 vols. Kassel: Bärenreiter: 2008.
Schradieck, Henry. School of Violin Technique. 4 vols. New York: G. Schirmer, 1928.
Ševčík Otakar. Analytical Studies and Exercises, opp. 16–21. 6 vols. Lauren Keiser Music
Publishing, 2012.
———. School of Bowing Technique, op. 2. 6 vols. London: Bosworth, 1901.
———. School of Violin Technique, op. 1. 4 vols. London: Bosworth, 1901.
———. Violin Studies: Changes of Position and Preparatory Scale Exercises, op. 8. London:
Bosworth, 1901.
———. Violin Studies: Preparatory Studies in Double-Stopping, op. 9. London: Bosworth,
1901.
———. Violin Studies: Preparatory Trill Studies, op. 7. 2 vols. London: Bosworth, 1901.
Skelton, Robert. The Complete Violin Technique Book. Toronto, ON: The Frederick Harris
Music Co., Limited, 1998.
Suzuki, Shinichi. Position Etudes, Revised Edition. Van Nuys, CA: Alfred Publishing Co.,
Inc. First published Miami, FL: Summy-Birchard, 1973.
———. Tonalization. Van Nuys, CA: Alfred Publishing Co., Inc. First published Miami,
FL: Summy-Birchard, 1955.
Tartini, Giuseppe. The Art of Bowing for the Violin. Facsimile reprint. New York: G.
Schirmer, 1909, 1967.
Wieniawski, Henryk. Etudes-Caprices, op. 10. New York: International Music, 1973.
———. Etudes-Caprices, op. 18. New York: International Music, 1974.
Whistler, Harvey S. Introducing the Positions. 2 vols. Chicago, IL: Rubank Publications,
1944–46.
91 Resources
Orchestral Excerpts
Adey, Christopher. Orchestral Performance. London: Faber and Faber, 1998.
Bach, Johann Sebastian. Violin Solos from the Sacred Cantatas, Masses, Passions and
Oratorios. Ed. Martin Wolfhurst. Kassel: Bärenreiter, 1996.
Boerries, Karin. Test Pieces for Orchestral Auditions. 2 vols. Mainz: Schott, 1994.
Gingold, Josef, ed. Orchestral Excerpts from the Symphonic Repertoire. 3 vols. New York:
International, 1953–1962.
Green, Elizabeth A.H. Orchestral Bowings and Routines. American String Teachers
Association, 1957. Distributed by Alfred Publishing Co., Inc., 2010.
Strauss, Richard. Orchestral Excerpts from Symphonic Works: For Violin. Ed. Prill. New
York: International, 1944.
Wulfhurst, Martin. The Orchestral Violinist’s Companion. 2 vols. Barenreiter, 2012.
The Orchestral Musician’s CD-ROM Library. 10 vols. CD Sheet Music, 2007.
Violin Reference Works

Arditti, Irvine and Robert Platz. The Techniques of Violin Playing. Kassel: Barenreiter,
2012.
Auer, Leopold. Violin Master Works and Their Interpretation. London: Dover, 2012.
———. Violin Playing As I Teach It. London: Gerald Duckworth, 1921, 1960, 1980.
Bachmann, Alberto A. An Encyclopedia of the Violin. New York: D. Appleton, 1929, 1937,
1975; London: Dover, 2008.
Baillot, Pierre. The Art of the Violin. Trans. Louise Goldberg. Evanston, IL: Northwestern
University Press, 1991.
Barber, Barbara. Fingerboard Geography for Violin. Van Nuys, CA: Alfred Publishing Co.,
Inc., 2008.
Barrett, Carolyn M. The Magic of Matsumoto: The Suzuki Method of Education. Palm
Springs, CA: ETC Publications, 1995.
Berman, Joel, Barbara Jackson, and Kenneth Sarch. Dictionary of Bowing and Pizzicato
Terms. 4th ed. American String Teachers Association, 1957. Distributed by Alfred
Publishing Co., Inc., 2010.
Boyden, David Dodge. History of Violin Playing from its Origins to 1761. London: Oxford
University Press, 1965, 1975; Oxford: Clarendon Press, 1990.
———, et al. The New Grove Violin Family. New York, W.W. Norton and Co., 1989.
Cook, Clifford A. Suzuki Education in Action. New York: Exposition Press, 1970.
Courvoisier, Karl. The Technique of Violin Playing: The Joachim Method. London: Dover, 2006.
Donington, Robert. String Playing in Baroque Music. London: Faber and Faber, 1977.
Fischer, Simon. Basics: 300 Exercises & Practice Routines for the Violin. London: Peters
Edition Limited, 1997.
———. Practice: 250 Step-by-step Practice Methods for the Violin. London: Peters Edition
Limited, 2004.
———. Scales: Scales and Scale Studies for the Violin. London: Peters Edition Limited,
2012.
Flesch, Carl. The Art of Violin Playing. 2 vols. Trans. and ed. Eric Rosenblith. New York:
Carl Fischer, 2000.
Galamian, Ivan. Principles of Violin Playing and Teaching. 3rd ed. Ann Arbor, MI: Shar
Products, 1999; London: Dover, 2013.
Gerle, Robert. The Art of Practising the Violin. London: Stainer & Bell, Ltd., 1983, 1985.
Goldberg, Milton. The Violin Column. Boulder, CO: Suzuki Association of the Americas,
1984.
Havas, Kató. A New Approach to Violin Playing. London: Bosworth, 1961, 1970.
———. The Twelve Lesson Course in a New Approach to Violin Playing. London: Bosworth,
1964.
Hermann, Evelyn. Shinichi Suzuki: The Man and His Life. Rev. ed. Miami, FL: Summy-
Birchard, 1995.
Kendall, John. The Suzuki Violin Method in American Music Education. Rev. ed. Miami, FL:
Summy-Birchard, 1985.
Kolneder, Walter. The Amadeus Book of the Violin: Construction, History, and Music. Trans.
and ed. Reinhard G. Pauly. Portland, OR: Amadeus Press, 1972, 1998, 2003.
Resources 92
Kreitman, Edward. Teaching From the Balance Point: A Guide for Suzuki Parents, Teachers,
and Students. Western Springs, IL: Western Springs School of Talent Education,
1998.
Loft, Abram. Violin and Keyboard: the Duo Repertoire: from the 17th Century to Mozart. 2
vols. Portland, OR: Amadeus Press, 2003.
Martens, Frederick H. Violin Mastery: Interviews with Heifetz, Auer, Kriesler and Others.
London: Dover, 2006.
Menuhin, Yehudi. Violin: Six Lessons with Yehudi Menuhin. London: Faber Music, 1971,
1981.
Mozart, Leopold. Treatise of the Fundamental Principles of Violin Playing. Trans. Editha
Knocker. 2nd ed. Oxford: Oxford University Press, 1951, 1985.
Pernecky, Jack M. Teaching the Fundamentals of Violin Playing. Ed. Lorraine Fink. Van
Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard,
1998.
Rapoport, Katharine. Violin for Dummies. 2nd ed. Toronto, ON: Wiley, 2012.
Rolland, Paul. Basic Principles of Violin Playing. American String Teachers Association,
1959. Distributed by Alfred Publishing Co., Inc., 2010.
———. The Teaching of Action in String Playing. Urbana, IL: Illinois String Research
Associates, 1974, 2000.
Rosenblith, Eric. Ah, You Play the Violin…: Thoughts along the Path to Musical Artistry. New
York: Carl Fischer, 2010.
Starr, William, ed. The Suzuki Violinist. Knoxville, TN: Kingston Ellis Press, 1976.
Stowell, Robin. The Cambridge Companion to the Violin. Cambridge: Cambridge University
Press, 1992.
Suzuki, Shinichi. Ability Development From Age Zero. Miami, FL: Summy-Birchard, 1981.
———. Man and Talent: Search into the Unknown. Ann Arbor, MI: Shar Products, 1990.
———. Nurtured By Love: A New Approach to Education. Miami, FL: Summy-Birchard,
1983.
———. Where Love Is Deep: The Writings of Shinichi Suzuki. St. Louis, MO: Talent
Education Journal Press, 1982.
———. Young Children’s Talent Education and Its Method. Trans. Kyoko Selden. Miami,
FL: Summy-Birchard, 1996.
Szende, Ottó and Mihály Nemessuri. The Physiology of Violin Playing. London: Collet’s,
1971.
Szigeti, Joseph. Szigeti on the Violin. London: Dover, 1969, 1979.
———. A Violinist’s Notebook. London: Gerald Duckworth, 1964.
Timmerman, Craig. Journey Down the Kreisler Highway: Reflections on the Teachings of
Shinichi Suzuki. Memphis, TN: Ivory Palaces Music, 1987.
Yampolsky, I.M. The Principles of Violin Fingering. London: Oxford University Press, 1967,
1984.
Web Resources
Alliance for Canadian New Music Projects (ACNMP): www.acnmp.ca
American String Teachers Association (ASTA): www.astaweb.com
Canadian Federation of Music Teachers’ Associations (CFMTA): www.cfmta.org
Canadian Music Centre (CMC): www.musiccentre.ca
Mimi Zweig String Pedagogy: www.stringpedagogy.com
Music Teachers National Association (MTNA): www.mtna.org
National Association for Music Education (NAfME): www.nafme.org
The Sassmannshaus Tradition for Violin Playing: www.violinmasterclass.com
Suzuki Association of the Americas: www.suzukiassociation.org
The Violin Community: www.violinist.com
Violin Excerpts: www.violinexcerpts.com
The Violin Lab: www.violinlab.com
Violin Online: www.violinonline.com
Violinist in Balance: www.violinistinbalance.nl
93 Resources
Frequently Asked
Questions
Practical Examinations
What is a practical examination?
A practical examination is an assessment of repertoire, etudes, technique, ear training,
and sight reading for a musical instrument, voice, or speech arts and drama.
How can I obtain permission to photocopy an out-of-print selection

that I find in a library or receive from a teacher?
Contact the publisher to request permission to make an authorized photocopy. Contact
information for most publishers can be found online or obtained from a music retailer.
Some music retailers can obtain authorized photocopies through a special online
service.
Can I photocopy a page of music to facilitate a page turn?

You may photocopy a single page once you have obtained permission from the
publisher. With this notice, The Frederick Harris Music Co., Limited grants permission
to festival, recital, and examination participants to photocopy single pages from their
publications to facilitate a page turn.
How do I choose the best edition for a piece?

The best editions often have minimal editorial markings. These editions, often called
Urtext, are available from most music retailers. If you are unsure about the best edition,
ask your music retailer for suggestions.
Should candidates follow repeat signs? Da capo markings?

Candidates should observe da capo markings at an examination performance. Repeat
signs should usually be ignored; however, repeat signs should be observed if indicated
in a footnote below the music in the Violin Series, 2013 Edition or if indicated in the Violin
Syllabus, 2013 Edition.
Why are teachers and parents not allowed in the room during practical
examinations?
Practical examinations provide a unique opportunity for candidates to perform in a
highly focused, one-on-one environment, without distraction.
Where can I find recordings of examination repertoire?

Violin Series, 2013 Edition includes compact discs containing piano accompaniments
for Violin Repertoire from Preparatory to Grade 8. A compact disc is included with the
purchase of each Violin Repertoire book.
Frequently Asked Questions 94

What do I do if I have an emergency situation on the day of my
examination and I need to cancel?
Contact the Examination Centre Representative listed on your Examination Schedule by
phone as soon as possible.
Theory Co-requisites
What is a theory co-requisite?
A theory co-requisite is a theory examination that must be completed before or within
five years of the practical examination if the candidate wishes to receive a certificate for
the practical examination. Candidates are encouraged to begin theory studies as early as
possible.
Do I have to take theory examinations if I don’t need a violin

examination certificate?
You may take a violin examination at any grade except ARCT without fulfilling theory
requirements. If you later decide that you would like to receive a certificate, you have
five years from the date of the violin examination to fulfill the theory requirements.
Candidates must complete prerequisite examinations in theory at least one session prior
to attempting the ARCT in Violin Performance or the Teacher’s ARCT.
Where can I find sample theory examination papers?

Official Examination Papers are published annually by The Frederick Harris Music Co.,
Limited to aid with examination preparation. Each book includes three examinations
from the previous December, May, and August examination sessions plus an additional
examination created for extra practice. Editions for three academic years are available at
any given time and may be purchased from your local music retailer.
95 Frequently Asked Questions

Practical Examination
Day Checklist for
Candidates
Before You Leave Home
___ Plan to arrive 15 minutes early.
___ Complete your Examination Program Form.
___ Bring original copies of all the music being performed in the examination.
___ Mark the pieces being performed with a paper clip or a “sticky note.”
___ Bring an additional copy of any repertoire you are not performing from memory.
Points to Remember
• Photo ID may be requested before a candidate is admitted to the examination room.
• Photocopied music is prohibited unless authorized by the publisher.
• Recording devices are strictly prohibited in the examination room.
• Electronic devices, books, notes, bags, and coats must be left in the area designated
by the Centre Representative.
• Parents, other family members, friends, and teachers must wait in the designated
waiting area.
• Standing and listening outside the examination room door is prohibited.
• The performance of repertoire may be interrupted by the examiner when an
assessment has been made.
What to Expect from a Violin Examination

• A friendly, professional atmosphere.
• The undivided attention of an examiner.
• An objective assessment of your performance of repertoire, etudes, technique, ear
tests, and sight reading.
• The examiner’s written evaluation online within eight weeks of the examination.
After the Examination

Access your examination marks and examiner comments through the “Examination
Results” link on the Royal Conservatory Examinations website (www.examinations.
rcmusic.ca) approximately eight weeks after the examination.
Practical Examination Day Checklist for Candidates 96

List of Repértorie Violin

Transféré par

Informations du document

Titre original

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

List of Repértorie Violin

Transféré par

Droits d'auteur :

Formats disponibles

Violin

© Copyright 2013 The Frederick Harris Music Co., Limited

Dr. Peter C. Simon

Visit www.examinations.rcmusic.ca to register for an

273 Bloor Street West

The Royal Conservatory Examinations

The Frederick Harris Music Co., Limited

Certificates Examinations Required

Diploma Examinations Required

Overview of Theoretical Subjects

Subject Theory Examination Title

Co-requisites and Prerequisites

Syllabus Repertoire Lists

Grade 5, Grade 6, and Grade 7

Da Capo Signs and Repeats

Pattern A–Galamian Pattern

Janáček, Leoš, arr. Donkin, Christine

Kabalevsky, Dmitri Givens, Shirley

Scales Keys Range Tempo Bowing

Time Signatures Approximate Length

Beginning Note Keys Approximate Length

Pieces in a Slower Tempo Kabalevsky, Dmitri

Scales Keys Range Tempo Bowing

Time Signatures Approximate Length

Beginning Note Keys Approximate Length

Archer, Violet Hook, James

Bach, Johann Sebastian Kabalevsky, Dmitri

Scales Keys Range Tempo Bowing

D 1 octave in 3rd position

Time Signatures Approximate Length

Above a Given Note

Beginning Note Keys Approximate Length

Repertoire Hasse, Johann Adolph

Candidates must prepare three contrasting selections by Küchler, Ferdinand

Anonymous Archer, Violet

Technical Requirements Kinsey, Herbert

Scales Keys Range Tempo Bowing

Time Signatures Approximate Length

Above a Given Note Below a Given Note

Beginning Note Keys Approximate Length

Difficulty Time Signatures Keys Positions Approximate Length

Time Signatures Approximate Length

Please see “Examination Repertoire” on p. 9 for important Rieding, Oskar

Barns, Ethel Palaschko, Johannes

Candidates must prepare two technically contrasting Kinsey, Herbert

Entezami, Ramin Trott, Josephine

Scales Keys Range Tempo Bowing

Time Signatures Approximate Length

Above a Given Note Below a Given Note

Beginning Note Keys Approximate Length

Difficulty Time Signatures Keys Positions Approximate Length

Time Signatures Approximate Length

Theory Co-requisite Portnoff, Leo

Repertoire Rieding, Oskar

Corelli, Arcangelo Traditional

Scales Keys Range Tempo Bowing

Major C 1 octave on A string = 84

Major C 1 octave on A string = 84

Dominant 7th of C (starting on G),

Major in 6ths G, B 1 octave

Time Signatures Approximate Length

Above a Given Note Below a Given Note

Beginning Note Keys Approximate Length